Snapped at Moorcest on 2.26.28, the below photo was taken on the wedding day photo of movie director Kenneth Hawks (younger brother of Howard Hawks) and actress Mary Astor.

Kenneth was born on 8.12.98, and was therefore, believe it or not, 29 when this photo was taken.

Kenneth reportedly gave Astor a new Packard as a wedding gift. They soon moved to a home on Lookout Mountain in Laurel Canyon. Less than two years later he was dead.

Initially a writer, editor and supervisor at Fox Films Corporation, Kenneth began directing films for Fox in ’29 — a year or so after his marriage. On 1.2.30, the 31-year-old was traumatically killed while directing aerial scenes for Such Men Are Dangerous. He and nine others were instantly destroyed following a mid-air plane crash over the Pacific Ocean. The planes that smashed into each other were identical Stinson SM-1F Detroiters. Sun glare was listed as probable cause.

For our latest podcast, Jeff and Sasha discuss what the Best Picture horse race of 2024 might look like. It’s a long one but what the hell.

Sasha has been on an Oppenheimer research kick so that commanded much of the time, but we also flitted around with Killers of the Flower Moon, The Killer, Barbie, Maestro, The Holdovers, The Pot au Feu, Napoleon, Ferarri, The Zone of Interest, Past Lives, The Color Purple.

We recorded too early to discuss the outrageous French Connection censorship matter — that’ll be for next time. We also re-explained why Best Picture-wise, identity is pretty much all that matters today. There’s no accounting for taste among the low-rent, under-45 SAG-AFTRA crowd.

Again, the link.

Earlier today HE commenter Benjamin Wayne reported that a racially offensive passage in William Friedkin‘s The French Connection (one that contains two ethnic slurs, both spoken by Gene Hackman‘s “Popeye Doyle”) has been stricken from the Criterion Channel’s version of this 1971 classic.

I went on the Criterion Channel to verify and Wayne is correct — the passage is missing.

Click here or watch below. The excerpt starts at the 52-second mark.

It’s a bit between Doyle and Roy Scheider‘s “Cloudy”, who’s nursing a wounded arm after being slashed by a drug dealer. Doyle: “You dumb guinea.” Cloudy: “How the hell did I know he had a knife?” Doyle: “Never trust a [ethnic slur].” Cloudy: “He coulda been white.” Doyle: “Never trust anyone.”

I’m sorry but cutting out scenes that are racially insensitive is a slippery slope. Once you start editing to spare sensitive ears where do you stop?

If and when The Criterion Channel ever shows Mel Brooks‘ Blazing Saddles (’74), will they edit out all the N-words? (I think the N-word is heard at least five or six times in the hilarious “the sheriff is near” scene.) If you watch Blazing Saddles on Max you’ll be treated to Jacqueline Stewart‘s introductory remarks, which acknowledge Brooks’ satirical intent while attempting to give context to the N-word usage. Why doesn’t the Criterion Channel do the same for The French Connection?

Excepting the scenes with Fernando Rey‘s elegant “Charnier” character, The French Connection has always been a coarse and crude film when focusing upon Doyle and Cloudy, which is at least 80% or 85% of the time. Doyle is a pushy and obstinate lead character who not only uses the N-word (once) but racially harasses the drug dealer who stabbed Cloudy by asking him if he’s ever picked his feet in Poughkeepsie. (Why not cut that scene out also?) Doyle’s barking, pugnacious personality represents the essence of Friedkin’s film, which hits hard in scene after scene and fairly flaunts its lack of sensitivity.

It’s one thing to warn viewers in advance about offensive or insensitive racial content, but eliminating entire passages is crude and uncool, especially in the case of a Best Picture Oscar winner.

I was recently urged by two friends to see Tina Satter’s Reality (HBO, 5.29), an 82-minute transcription drama about the June 2017 interrogation and arrest of Reality Winner, a contractor who bravely leaked classified info about Russian interference in the 2026 Presidential election.

Based solely on FBI transcripts, Reality is about an interaction between Ms. Winner (Sydney Sweeney) and a pair of kindly, soft-spoken FBI agents (Josh Hamilton, Marchant Davis). It’s mildly compelling in the sense that it’s certainly watchable and not boring, but at the the same time I wouldn’t call it earth-shattering. It’s engrossing as far as it goes. The first half-hour is completely banal, but it finally gets going…sort of.

I believed every minute of Reality (naturally) but Sweeney could be playing any 20something woman responding to any interrogation about anything of grave concern. She speaks to the FBI guys in what could be called “limited candid”…truths, half-truths, sidestepping, etc. Sweeney also speaks in a typical half-slurry vocal-fry manner, as many 20something women have been doing for the last 15-plus years. Her performance is perfectly fine but I didn’t believe she was fluent in three languages, as the actual Reality is. She seems too banal so I don’t honestly get the breathless praise.

I emerged from Reality, however, with a profound respect for what Ms. Winner did, which was to funnel classified proof to The Intercept about Russian interference, etc.

A high-profile, middle-aged husband (45) and wife (41) whose issues led to a recent separation (followed by a subsequent rapprochement) are further rocked by the wife’s discovery last March of the husband’s brief affair with a 25-year-old climate activist who bears a strong resemblance to the wife and is certainly the same physical type.

This needn’t be a terrible Shakespearean tragedy. A rupture of trust, obviously, but more of a passing thunderstorm than Krakatoa, East of Java. Younger men (under 50) are dogs and may act upon this if marital discord is an ongoing issue, and especially if the other woman is 20 years younger.

Be honest — hurtful things occasionally happen in some marriages, but the smart play is to lick your wounds and give it another shot. My Mad Men dad indulged in an episode in his mid 40s, and was busted when the girlfriend wrote a note. Thinking of the kids and contemplating her husband’s dog-like instincts, the wise wife will follow the usual script, which is to make their lives an agonizing hell for a few months and then gradually let it go.

An alleged Clint Eastwood quote, according to a famous actor who ran in the same circles: “Show me a hugely attractive, impressively accomplished, stupendously beautiful woman, and I’ll show you a longtime husband or boyfriend who’s tired of fucking her.”