Posted on 2.3.21: Hollywood Elsewhere saw Sian Heder‘s much-adored, Sundance award-showered CODA this morning. It’s moderately appealing and nicely made for the most part. Understand, however, that it’s an “audience movie” — aimed at folks who like feel-good stories with heart, humor, romance and charm.

It’s about a shy Gloucester high-school girl named Ruby (Emilia Jones) with a decent if less than phenomenal singing voice. She’d rather attend Boston’s Berklee College of Music than work for her deaf family’s fishing business, we’re told. The film is about the hurdles and complications that she has to deal with in order to realize this dream.

CODA is one of those “real people struggling with life’s changes and challenges” flicks, but given the fishing-off-the-Massachusetts-coast aspect it’s fair to say it’s no Manchester By The Sea — trust me. It’s a wee bit simplistic and schticky and formulaic -— okay, more than a bit — and contains a fair amount of “acting.”

For my money Jones overplays the quiet, withdrawn, still-waters-run-deep stuff, but it’s an honest performance as far as it goes — she has an appealing, unpretentious rapport with the camera. Eugenio Derbez‘s performance as an eccentric, Mexican-born music teacher is probably the film’s best single element. Bearded, baggy-eyed Troy Kotsur and 54 year-old Marlee Matlin are engaging as Ruby’s live-wire parents.

Matlin and Kotsur are the source, actually, of some clunky sexual humor (frisky parents noisily going at it during the late afternoon, randy Kotsur urging chaste Ruby to make her boyfriend wear “a helmet” during coitus, that line of country). Except the jokes don’t really land, or at least they didn’t with me.

In a phrase, CODA is not a Guy Lodge film.

But it’s an okay thing for what it is. It works here and there. It didn’t give me a headache. I can understand why some are enthusiastic about it. It deserves a mild pass. Heder is a better-than-decent director.

Friendo: “It’s a by-the-numbers family romcom with an added progressive-minded openness for the deaf.”

Most name-brand directors, producers and actors enjoy 12-year streaks when everything is cooking and breaking their way. Some directors and actors are lucky enough to last 15 or 20 years or even longer. Your task, should you choose to accept it (and I know I’ve posted about this before), is to list any number of Hollywood heavyweights and when their 12-year hot streaks (or better) happened.

I’m not talking about the ability to work or get work — I’m talking about the years of serious heat and the best years falling into place.

Cary Grant peaked from the late ‘30s to late ‘50s. James Cagney between Public Enemy and White Heat — call it 20. James Stewart between Destry Rides Again and Anatomy of a Murder — 20. Clark Gable’s hottest years were between It Happened One Night (‘34) and The Hucksters (‘47). Humphrey Bogart happened between High Sierra / The Maltese Falcon (‘41) and The Harder They Fall (‘56) — a 15-year run. Robert Redford peaked between Butch Cassidy (‘69) and Brubaker and Ordinary People (‘80) — 11 to 12 years.

Elizabeth Taylor had 15 years — 1950 (Father of the Bride) to 1966 (Who’s Afraid of Virginia Woolf). Jean Arthur — mid ’30s to early ’50s (Shane) — call it 15 years. Katharine Hepburn — early ’30s to early ’80s (On Golden Pond). Meryl Streep — 1979 (The Seduction of Joe Tynan) to today…40 years and counting.

Martin Scorsese is the king of long-lasting directors — Mean Streets (’73) to Killers of the Flower Moon (’22)…a half-century! John Huston had about 15 years — 1941 (The Maltese Falcon) to 1956 (Moby Dick). Alfred Hitchcock had 23 years — ’40 (Rebecca) to ’63 (The Birds). Steven Soderbergh‘s had 23 years so far — 1989 (sex, lies and videotape) to 2012 (Magic Mike) and he’s obviously still kicking. John Ford enjoyed 27 good years — ’35 (The Informer) to ’62 (The Man Who Shot Liberty Valance).

John Wayne had an amazing 37 years — 1939 (Stagecoach) to 1976 (The Shootist). George Clooney‘s peak period lasted almost 20 years. Tony Curtis‘s hot streak was relatively brief — 1957 (Sweet Smell of Success) to 1968 (The Boston Strangler). Kirk Douglas had about 15 years — Champion (’49) to Seven Days in May (’64). Richard Burton — 1953 (The Robe) to 1977 (Equus) — almost 25.

It’s a basic creative and biological law that only about 10% to 15% of your films are going to be regarded as serious creme de la creme…if that. Most big stars (the smart ones) are given a window of a solid dozen years or so** in which they have the power, agency and wherewithal to bring their game and show what they’re worth creatively. We all want to be rich, but the real stars care about making their mark.

Please supply more noteworthy names and their peak periods.

Jeymes Samuel‘s The Harder They Fall (Netflix, later this year) seems to be a harmless, ultra-violent, all-black fantasy-revenge western — a gang of African-American desperadoes (Jonathan Majors, LaKeith Stanfield, Regina King, Idris Elba, Zazie Beetz, Delroy Lindo, Danielle Deadwyler, Edi Gathegi, R.J. Cyler, Damon Wayans Jr., Deon Cole) holdin’ up trains, settlin’ scores, blowin’ holes in a bunch of white guys, etc.

No harm, no foul…and it’s probably about as good as Antoine Fuqua‘s The Magnificent Seven (’16), which I called “cheap dogshit.”

For me the stand-out element is Zack Sharf’s IndieWire story about same — ‘The Harder They Fall’ Trailer: Netflix Western Unites Majors, Elba, King, Beetz, Lindo, Stanfield — which posted this morning at 8:15 am. At no point in Sharf’s story is there an acknowledgement that this is a western about an all-black gang (or gangs). Sharf notes that Netflix is calling this a “new school Western,” but that’s as far as he’ll go. The implication is that it’s somehow racist (or racialist) to acknowledge the basic shot here. Weird.

Synopsis: “When outlaw Nat Love (Jonathan Majors) discovers that his enemy Rufus Buck (Idris Elba) is being released from prison he rounds up his gang to track Rufus down and seek revenge. Those riding with him in this assured, righteously new school Western include his former love Stagecoach Mary (Zazie Beetz), his right and left hand men — hot-tempered Bill Pickett (Edi Gathegi) and fast drawing Jim Beckwourth (R.J. Cyler) and a surprising adversary-turned-ally. Rufus Buck has his own fearsome crew, including ‘Treacherous’ Trudy Smith (Regina King) and Cherokee Bill (LaKeith Stanfield), and they are not a group that knows how to lose.”

Brian Wilson: Long Promised Road premiered at the Tribeca Film Festival in June 2021. It follows Brian and Rolling Stone editor Jason Fine as they drive around Los Angeles and visit locations from Brian’s past. The Rotten Tomatoes rating is currently 100%.

Here’s a tale of a brief encounter I had with Brian in ’74 — originally posted on 9.9.14:

I was living in an upstairs one-bedroom apartment at 948 14th Street in Santa Monica, doing nothing, working as a tree surgeon…my lost period. (I began my adventure in movie journalism the following year.) Right below me lived a guy named Eddie Roach and his wife Tricia. At the time he was working with the Beach Boys as a kind of staff or “touring” photographer. Dennis Wilson fell by two or three times and hung out a bit, and one time I was part of a small group that played touch football with him at a local high-school field. Dennis mocked me that day for being a bad hiker, which I was. (But Dennis was a dick… really. Insecure machismo, didn’t like him, felt nothing when he died.)

Anyway it was a cloudy Saturday or Sunday afternoon and I was lounging in my living room when I began to hear someone tooling around on Eddie’s piano downstairs. It sounded like the beginnings of a song. It began with a thumping, rolling boogie lead-in, complex and grabby, and then the spirited vocal: “Back home boogie, bong-dee-bong boogie…yay-hah…back home boogie, bong-dee-bong”…and then he stopped. One of the chords wasn’t quite right so he played a couple of variations over and over, and then again: “”Back home boogie, bong-dee-bong boogie yay-hah!” and so on. Then another mistake and another correction.

Then he stopped again and started laughing like a ten year-old drunk on beer: “Hah-hah, heh-heh, heh-heh!” and then right back into the song without losing a beat. Really great stuff. Who is this guy?

I grabbed my cassette recorder and went outside and walked down the steps leading to Eddie’s place, and I laid it down on one of the steps and started recording. I must have captured two or three minutes worth.

Then I decided to knock on Eddie’s door and pretend I needed to borrow a cup of milk or something. I had to know who the piano guy was. Eddie opened the door and I said “hey, man,” and in the rear of the living room stood a tall and overweight Brian Wilson. He was dressed in a red shirt and jeans and white sneakers, and was cranked and excited and talking about how great some idea might be, gesturing with his arms up high. Then he saw me and almost ran over to the doorway.

I suddenly knew who it was and it was a huge internal “whoa!” Wilson looked like a serious wreck. His hair was longish and sort of ratty looking. His unshaven face was the color of Elmer’s Glue-All, and his eyes were beet red. I didn’t mean to disturb the vibe but a look of faint surprise or shock must have crossed my face because Wilson’s expression turned glum. It was like he suddenly said to himself, “Wow, this guy’s some kind of downhead…everything was cool until he showed up.” Eddie spotted it too and said, “Sorry to disappoint you.” I said everything was cool and retreated back upstairs.

Way back in ’83 or thereabouts, I was acquainted with a pair of youngish film producers (man and woman, probably married) whom I’d met at an industry gathering or screening. Their names escape…sorry. But we were moderately friendly, on good terms. They lived in a beautiful, old-world, high-ceilinged apartment inside Harper House, a pre-war Spanish building at 1134-1336 No. Harper Ave.

And I distinctly recall that in their living room Marlon Brando‘s Royal Navy uniform and bicorn hat, from Mutiny on the Bounty, was on display. Made of seemingly authentic materials, it rested upon a white, Brando-sized mannequin. I was deeply impressed, and asked if I could sniff it. I was hoping it might have retained the aroma of Brando or Tahitian sand or coconuts or some organic remnant of that 1962 film. Alas, it smelled like Holloway Cleaners.

In any event here it is on iCollector — it sold in December 2019 for $10K. How much had my producer friends paid for it in the early ’80s? Maybe one-tenth of that. Who knows? Or maybe it’s a scam — maybe dozens of would-be Brando uniforms have been made and sold as Real McCoys.

Leos Carax’s Annette (7.6.21, France) is an English-language musical set in Los Angeles that will feature original music from the ’70s rock band Sparks. It’s a love story about a stand-up comic (Adam Driver) and an opera star (Marion Cotillard). Completed in November 2019, pic will be told almost entirely through song, in classic rock opera tradition — all singing, all of the dialogue (or 95 % of it), “but in a way that’s stylistically true to Sparks’ sensibility, so if you can imagine that, Adam Driver doing Sparks, that’s what we have.”

The architect, the construction foreman…somebody will have to swing for this.

The just-announced competition jury for Cannes ’21 (7.6 thru 7.17): Jury President Spike Lee + actors Maggie Gyllenhaal, Mélanie Laurent, Song Kang-ho (Parasite chauffeur guy) and Tahar Rahim, plus actor-director Mati Diop + Austrian director Jessica Hausner and Kleber Mendonça Filho (Bacarau). Singer/songwriter Mylène Farmer is also on the team.

Update: This nine-member jury promises to be one of the most miraculous, heart-stopping, ultra-restorational and soul-tingly in the 74 year-old history of the Cannes Film Festival. I love these members…all of them! Perfect! Glorious! I’m so excited that I’m almost having an anxiety attack. Somebody hand me a small brown paper bag,

The four-men, five-women composition seems reflective of what the usual progressive suspects would probably prefer. Rest assured that once the festival kicks off there’ll be incidents and accidents, hints and allegations.

Who’s predicting an Annette win besides myself? Perhaps an acting trophy for Adam Driver or Marion Cotillard? And don’t forget the anticipation factor favoring Wes Anderson‘s The French Dispatch.

The Cote d’Azur gathering will have fewer top dog journalist-critics in attendance — that’s for sure.

The anxious accountant is played by Trent Moore. The way his character attempts to explain to Anton Chigurh the motive embraced by his just-murdered boss…”he feels…uhm, he felt that the more people looking…”…is perfectly delivered. I was wanted to say that in case nobody else has.

Posted on HE-Plus on 7.1.19 / money exchange rate updated: In North by Northwest Cary Grant‘s Roger Thornhill drops a lot of cash on a lot of random expenses — cabs, beverages, tips, bus tickets, dry cleaning. I’ve calculated that he spends a minimum of $275 in 1958 dollars, which comes to roughly $2522 in the 2021 economy. That’s a lot to be carrying around.

The film was shot in the summer of ’58, when the only credit card was Diner’s Club and no one had ever heard of debit cards. Thornhill, on the run from the law and unable to just stroll into a local bank for a withdrawal, had to pay for everything with pocket cash.

Roger Thornhill’s NXNW expenses / final accounting:

(1) Pays for cab from Madison Avenue to the Plaza hotel — call it $10 with tip as he’s also paying the driver to take his secretary to another destination; (2) Tips Plaza Hotel/Oak Room bellboy — another $5; (3) After the DUI adventure in Glen Cove and the visit to the Townsend estate, he and Jesse Royce Landis (his “mother”) somehow get back to Manhattan, presumably by cab — probably $25 or $30. ($45 so far)

(4) Back at the Plaza, he gives his mother $50 as payment for persuading the concierge to slip her a key to George Kaplan‘s room in the Plaza ($95); (5) Tips Plaza Hotel valet, looking for information — $5; (6) Takes cab from Plaza to U.N. building — call it $10 to be safe; (7) Presumably takes another cab to Grand Central following the U.N. knifing — $5 to $7. ($117.) (8) Doesn’t buy coach seat on 20th Century Limited, but once in Chicago Thornhill takes a bus to somewhere in southern Indiana farm country. Probably $12 or $15. ($132.)

After surviving the cropduster attack, Thornhill returns to Chicago with a free “ride” (i.e., stolen pick-up truck). Visits Eve at the Ambassador East. Pays AE cleaning service to have his dusty suit “sponged and pressed” — probably $10 or $12. ($144) Probably buys fresh dress shirt, underwear and socks — figure another $20. ($164)

Flies from Chicago to Rapid City with Leo G. Carroll‘s CIA “professor” — air fare covered by government.

Pays for coffee in Mount Rushmore cafeteria — a dime. Escapes from Rapid City hospital, takes longish cab ride up to Van Damm’s Mount Rushmore rental (a Frank Lloyd Wright original) — probably at least $20 or $25. And then pays for his and Eve Kendall‘s train fare back to NYC (call it $60 for two, maybe more).

Wait…I forgot about the Gibson and the brook trout Thornhill ordered in the dining car while chatting with Eve.

That’s a grand total of $250 minimum. Add $25 in random incidentals (penny-ante stuff) and you’re talking $275. In 2021 the value of a single 1958 dollar is $9.17, which translates into $2522 but let’s call it $2600….hell, make it $3K.

Who walks around with the equivalent of $3K in their wallet or money clip?

There’s no question that I saved my life when I embraced sobriety on 3.20.12. A growing sense of calm, moderation and spiritual clarity began to manifest within a year or so (certainly by early ’14), and I shudder to think of where my life would be if I was still slurping down the old Pinot Grigio on a nightly basis, not to mention the likelihood that my face would have acquired the shape of a saggy beach ball.

But if I’m being really honest, bathing in a nightly buzz-on used to be a fairly enjoyable thing. It always delivered a “wow, this feels good and I’m happy” attitude…a sense of excitement, good humor, irreverence, When I was younger, that is. In my 20s, 30s and 40s that settle-down feeling of warmth and fun and laughter that wine and the occasional mixed drink used to provide…that felt like a fairly blissful thing.

A friend told me six or seven years ago that I was funnier when I was drinking…that I laughed more, etc. I don’t doubt it.

Pete Hamill‘s “A Drinking Life” led me to sobriety, but it also contained eloquent passages about what a joy it was to drink with friends and share in that spiritual mirth.

I’m mentioning my history as a way of saying that I understand why Errol Flynn (1909-1959) ruined his life with spirits. He drank himself to death because he had a good time along the way. Alcohol allowed him to behave like…what, a reckless horndog, an elegant teenager, an international bon vivant? He liked going there.

Sometime in the mid ’40s Flynn was told by a doctor that if he didn’t cut back on his drinking he wouldn’t last the decade. Well, he made it to ’59.

Presumably Richard Burton, Peter O’Toole, Richard Harris, Robert Mitchum, Tallulah Bankhead, Humphrey Bogart, Spencer Tracy, Peter Finch, John Barrymore, Montgomery Clift and all the other legendary Hollywood drunks had just as good a time getting bombed on a daily basis. Or maybe they were stuck in a rut and didn’t know how to get out of it, or they figured the bad moods and headaches would go away or something.

All I know is that drinking is a young man’s game, and that you have to think about cutting back if not winding down by your early to mid ’40s, and certainly with the arrival of the big five-oh.

HE took exception to last year’s trashings of statues of generally admired, relatively benign historical figures like Abraham Lincoln, George Washington, Ulysses S. Grant, et. al. But I agree 100% with the American Museum of Natural History’s Theodore Roosevelt statue (the one facing Central Park West) being removed because of odious symbolism — the horse-mounted Roosevelt, a believer in white superiority and eugenics, flanked by a Native American and an African American on foot.

The statue is toxic and needs to be retired — no question. But what would Robin Williams say if he were still with us? Not to mention Brian Keith? And what about the possibly vulnerable reputations of the Night at the Museum guys (director Shawn Levy, producer Chris Columbus, star Ben Stiller)? They didn’t mean any harm by having fun with Roosevelt’s manly rough-rider + conservationist legend, but now they’re absorbing a certain amount of…what’s the right term, “shade”?

6.22 N.Y. Times story, reported by Laura Zornosa: “The New York City Public Design Commission voted unanimously at a public meeting on Monday to relocate the statue by long-term loan to a cultural institution dedicated to the life and legacy of…former president Theodore Roosevelt.

“The vote follows years of protest and adverse public reaction over the statue as a symbol of colonialism, largely because of the Native American and African men who are depicted flanking Roosevelt on a horse. Those objections led the museum in June 2020 to propose removing the statue. New York City, which owns the building and property, agreed to the suggestion, and Mayor Bill de Blasio expressed his support.”