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A June 3rd Guardian photo essay is celebrating the re-opening of Paris cafes.

Copy: “In Paris, contented customers sit outside cafes and sip their morning espressos for the first time in 11 weeks. There are, however, strict rules: bars and restaurants have permission to sprawl across pavements but tables must be one meter apart. In the rest of France, customers can now be served inside while observing the same distance.”

The Guardian‘s photographer is identified as “Martin” of AFP/Getty Images.

These photos literally melted me down. From ’07 to ’19 I was able to downshift and decompress in Paris (or Rome, Prague. Munich or Belgrade) following the Cannes Film Festival, and 2020 was the first time since the late George W. Bush administration that I was unable to do that.

These pics remind me that sipping cappuccino on a Paris sidewalk adjacent to a busy cafe or brasserie (early morning, late afternoon, evening) is one of the most gloriously alive activities available to human beings on the planet earth.

I’m not disputing the presence of a gay erotic current in A Nightmare on Elm Street 2: Freddy’s Revenge. But I worked as a freelance publicist for this film in the summer and fall of ’85, and I don’t remember the slightest remark at the time by any New Line staffers about Mark Patton (who was 25 or 26 at the time) being any kind of scream queen. Nobody said zilch about this, and the people I worked with in New Line publicity and marketing were very sharp and super-opinionated about everything.

From “Brief Shining Moment of Freddiemania,” posted on 1.17.15: “I’d like to take a brief bow for my efforts as a freelance public relations guy for New Line Cinema in ’85 and ’86, and particularly my promotion of Jack Sholder‘s A Nightmare on Elm Street 2: Freddy’s Revenge, and even more particularly the semi-phenomenon known as ‘Freddiemania,’ which originated with spottings of movie fans dressed as Freddy Krueger a la Rocky Horror for midnight showings of Wes Craven‘s A Nightmare on Elm Street (’84).

“There weren’t that many Freddy freaks to be found, to be perfectly honest, but it was an interesting and amusing enough story to persuade Entertainment Tonight and the N.Y. Times and other big outlets to run pieces on it and to speak with Sholder (who later directed The Hidden, one of the finest New Line films ever made) as well as Freddy himself, Robert Englund, with whom I became friendly and hung out with a bit. (Producer Mike DeLuca was a 20 year-old New Line assistant at the time.) One of my big Freddy promotional stunts was persuading Englund to march in New York’s Village Halloween Parade on 10.31.85 from Houston Street up to 14th or 23rd or something like that.”

I also wrote about this period in “New Line Memories,” posted on 3.3.08.

Directed by Roman Chimienti and Tyler Jensen, Scream, Queen! My Nightmare on Elm Street is currently streaming on Amazon. It’ll also be released on SHUDDER, the horror streaming service, on 6.4, or two days hence.

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Best protest moment since the tragic death of George Floyd? Certainly one of them.

Cheers rose up from the crowd as these dudes rolled up. Clip-clip-clip-clop. pic.twitter.com/x1h8UpmyQy

— Mike Hixenbaugh (@Mike_Hixenbaugh) June 2, 2020

The trailer for Derek Wayne Johnson‘s 40 Years of Rocky: The Birth of a Classic, which is narrated by Sylvester Stallone, seems to be mostly about the making of the original Rocky. That 1976 Oscar winner was the only “pure” entry in the long-running franchise — the only one that got everything right and a film which everyone still loves or at least likes.

The doc’s title, however, suggests that the long-running Rocky franchise (eight films including the original) will be explored. Which would be a shame. There’s nothing glorious or heart-warming about several attempts to make more money off a popular brand.

There have been seven cash-in sequels since John Avildsen‘s Rocky, written by and starring Stallone, opened on 11.21.76. The sequels are Rocky II (’79), Rocky III (’82), Rocky IV (’85), Rocky V (’90), Rocky Balboa (’06), Creed (’15 — a franchise redefiner that was almost as good as the original), and Creed II (’18).

Stallone played Rocky Balboa (a name inspired by the real-life Rocky Graziano and inspired by Robert Wise‘s Somebody Up There Likes Me) in all eight films. He wrote seven of the eight and directed four of them.

40 Years of Rocky: The Birth of a Classic will be available on-demand as of Tuesday, 6.9.

The doc features heretofore unseen pre-production and principal photography footage shot by Avildsen and others.

Charles Laughton’s Sir Wilfrid Robarts on yesterday’s bible photo-op in front of St. John’s Episcopal Church: “My Lord, I would also remind my learned friend that President Trump has lived such an arrogant and deplorable life, told so many lies and violated so many solemn oaths that I am surprised the Testament did not leap from his hands when he posed with it before the cameras.”

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Last night I was browsing through some HBO Max films, and was startled to discover that the boxy (1.37:1) version of Stanley Kubrick‘s Full Metal Jacket (’87) is being HD streamed. Which is certainly cause for celebration.

One, I hadn’t watched this version of FMJ since the early aughts, or soon after the release of the 2001 “Kubrick Collection” DVD version, which was mastered in 1.37:1. Two, until last night I’d never seen the boxy version in 1080p HD, as the ’01 DVD was naturally presented in 480p. And three, Kubrick preferred the boxy version to the cleavered 1.85, which is how 99.5% of the home viewing public has seen this Vietnam War classic.

Full Metal Jacket as it currently appears on HBO Max, with a 1.37:1 aspect ratio.

Same scene within the standard 1.85 a.r., which is how almost everyone has seen Stanley Kubrick’s 1987 Vietnam War classic over the last 15 or 20 years, give or take.

HE is advising all HBO Max subscribers to stream the boxy FMJ as soon as possible before it disappears. Because the sworn enemies of “boxy is beautiful” will be doing everything they can to erase this version, despite the fact that Kubrick personally preferred it.

Seriously, hurry. If I know Bob Furmanek and the 1.85 fascist cabal they’ll soon be hounding HBO Max to swap out the boxy with the 1.85. These guys are fanatics. They hate boxy and will stop at nothing.

Perhaps someone on the HB0 Max tech team made a “mistake” in uploading the boxy version, but it’s a good mistake, trust me.

Consider the following 2008 DVD Talk interview with longtime Kubrick employee and collaborator Leon Vitali, in which he explains Kubrick’s visual aesthetic:

DVD Talk: “One of the areas of greatest debate in the DVD community is about aspect ratios. The two films that people talk about the most in terms of aspect ratio are Full Metal Jacket and Eyes Wide Shut, maybe because those are the ones that have been seen theatrical by the DVD buying audience. But people will go through [these films] frame by frame and say ‘in the trailer of Eyes Wide Shut, you can see a sign on the street that you can’t see on the full frame video. You can see an extra character.’ So how do you address the differences between the theatrical releases of Eyes Wide Shut and of Full Metal Jacket in the DVD releases?”

Vitali: The original video release of Full Metal Jacket was in the supervised hands and owned by Stanley. The thing about Stanley, he was a photographer. That’s how he started. He had a still photographer’s eye. So when he composed a picture through the camera, he was setting up for what he saw through the camera — the full picture. That was very important to him. It really was. It was an instinct that never ever left him.

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The chaos, looting and anarchy that I saw first-hand on Melrose Ave. an hour ago (including a small fire just east of Fairfax that was being put out) had nothing, repeat, nothing to do with the death of George Floyd in Minneapolis last Monday. It was a “get all you can” free-for-all.

Mostly I saw Average Joes with vaguely alarmed expressions standing around and eyeballing the destruction, but here and there I saw teenaged and 20something POCs in masks and hoodies grabbing all they could. Madhouse looting, small stores.

Way to go, guys! — raise high the flag of freedom. Donald Trump says “thanks!”

If poor George Floyd is watching from above, it’s a safe bet he’s feeling a mixture of shame and disgust. (Thanks to the fearless Tatiana Antropova for taking most of these stills and videos.)

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Last night I got suckered into sampling HBO Max on a trial basis (no billing until June 5). The fairly immense library melted me down. Five minutes after signing up I decided to watch David Lean‘s Summertime (’55), which I’d never seen in HD before.

A concise story of a 40ish unmarried woman from Ohio (Katharine Hepburn) enjoying her first visit to Venice, Italy, and then falling in love with a covertly married native (Rossano Brazzi), Summertime is a swoony, Technicolor dreamboat dive into the charms (architectural, aromatic, spiritual) of this fabled city.

The cinematography by Jack Hildyard (The Bridge on the River Kwai) is perfectly framed and lighted, and the fleet cutting by Peter Taylor ensures that each shot is perfectly matched or blended with the next.

A cleavered 1.85 image of Summertime vs. the 1.37 version.

But I was especially pleased by the 1.37:1 aspect ratio and all the extra glorious headroom that comes with that. It goes without saying that I was also delighted by the fact that a few years ago 1.85 fascist Bob Furmanek had expressed profound irritation with Summertime‘s boxiness. I’ve read that Lean preferred the 1.37 version over the cleavered 1.85 version, which is what Furmanek and his fascist allies reflexively wanted to see.

Furious, fuming Furmanek = ecstatic HE.

Seven years ago David Brayton explained the whys and wherefores on alternateending.com:

“David Lean professed a preference for the 1.37:1 open matte version, giving it the fairly inarguable aura of authorial intent. Looking at the film, I think it’s pretty obvious why he felt this way. Simply put, the 1.85:1 version of the movie is about people while the 1.37:1 version is about Venice. As a direct result of shooting this movie, Lean fell in love with Venice for the rest of his life. [It seems apparent that] he preferred the version that showed off the city to greater effect for that reason.”

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I just hope that all of the building fires and shattered windows and tear gas pellets that rocked so many cities on Friday night don’t wind up scaring the weak of heart and seekers of order into voting for The Beast a few months hence.

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For her You Must Remember This podcast, Karina Longworth has created a ten-episode tribute to legendary producer, production designer and Pretty Baby screenwriter Polly Platt. It’s called “Polly Platt, The Invisible Woman.” I haven’t had a chance yet. I’m thinking of catching the first two episodes on the drive back to Los Angeles later today.

“Dearest Polly Platt,” an HE tribute posted on 7.27.11:

The tide has turned against Wokester McCarthy-ites, or at least those who are paying attention. Jig’s up, time to trim sails, hand overplayed, etc.

Please consider a day-old, profoundly comforting, nearly perfectly phrased Bulwark article by fiction writer Greg Hurwitz.

Excerpt: “All women are not to be believed any more than all men are. To suggest that females are magical truth-telling creatures isn’t just insulting; it’s objectifying.

“And of course the leaders of #MeToo knew that.

“But the biosphere of social and mainstream media no longer responds to — or has any interest in — nuanced positions. So ‘Women will no longer be silenced just because they lack relative power in certain circumstances, an injustice that now demands we give equal weight to those who’ve been victimized’ became ‘Believe all women.’

“Which then, by its very lack of nuance, set off a firestorm of cancel culture, circumventing due process and harming people of both genders. And when members of the left said nothing or responded with glee to the one-size-fits-all mob sentencing guidelines, they ended up condoning the same sort of overzealous nonsense that the right does when pretending that cancel culture rules the day.”

Acknowledgment: I dearly wish that The Bulwark could be a centrist, common-sense website as opposed to an American conservative news and opinion website founded by conservative commentators Charlie Sykes and Bill Kristol. I regard myself as a sensible leftie, but I completely agree with Hurwitz except for the “believe all women” slogan, which some #MeToo-ers have claimed was a rightwing mis-labelling of a view that more correctly could have been understood as “take accusations by women seriously.”

In mid January ’42, go-getter reporter Gene Sherman, 26, covered the Carole Lombard plane-crash tragedy for the Los Angeles Times.

Sherman reported that formidable MGM fixer Eddie (i.e., “Edgar J.”) Mannix had identified Lombard’s “charred and burned” body, relying on his familiarity with her blonde hair “as well as the general contours of her face.” Mannix was memorably portrayed by Josh Brolin in Joel and Ethan Coen‘s Hail Ceasar!.

Like any driven big-city reporter, Sherman knew most of the angles and could write a mean paragraph. In 1960 the 45 year-old Sherman won the Pulitzer Prize for Public Service. In a bid to strengthen the L.A. Times‘ influence on the world stage, Sherman opened the paper’s London bureau in ’64. The “hard-working, fast-living” Sherman died in 1969, at age 54.

L.A. Times reporter Gene Sherman

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