Carville: “The last eight polls are all the same. 72%, 73% of the country…call it 75% of the country doesn’t want Biden to run again. That’s a big fuckin’ number, man.”
Maher: “That’s a very big number [for] something that is crucial…it’s ridiculous.”
Carville: “Biden vs. Nikki Haley. 49% to 43%. I have never seen an incumbent president at 43%. Do people actually know Nikki Haley’s position on anything? Naah.”
Maher: “Haley is another ‘this is as good as it gets’ Republican. It’s not going to get better than [Republican candidates like her]. There is no imaginary Alan Alda-from-The West Wing Republican. Am I right?”
Carville: “You’re right in that over recent years….[the Republicans] have stupid voters.”
Maher: “This is why they hate you. You just said ‘stupid voters’ and…I like to channel everybody’s side. They’re saying ‘yeah, okay maybe we’re stupid but do you think you’re doing stupid things in your own way? Like pregnant men?’ That’s what they say, and I get it.”
Carville: “About 10% or 11% of Democrats describe themselves as progressive liberals. Survey after survey, and these people are annoying, silly. And most people don’t know what they’re talking about. And the number of MAGA people among Republicans is 65%. So we pay a greater price for 10% of progressive wokesters than the Republican pay for 65% of their people. The identity people on the left are silly…they’re not evil…they’re just goofy. The original woke term came from a black jazz musician who was born in Shreveport and died in Houston. And then over-educated coastal white people got hold of the word, and they completely fucked it up and pissed everybody in the country off. If we could just get the faculty at Amherst to shut the fuck up, we’d be a lot better off.”
Carville: “Do you think that Joe Biden…if you tried to explain to Biden what woke is, do you think he could even understand it?”
Maher: “He’s like the dad who doesn’t really understand what the kids are into, but he doesn’t want to fight about it either. So when the wife is like ‘honey, the kids want to cut their dicks off and tear down statues of Lincoln’, he’s like ‘whatever, I’m watchin’ the game.'”
Carville: “Most of these older guys…they don’t even understand what [the kids] are talking about.”
“There were two actors who managed to perform in The Ten Commandments without disgracing themselves — Yul Brynner and Edward G. Robinson. He realized the perverse comedy in the part of Dathan. DeMille was completely baffled by what Robinson was doing, and wanted to fire him. if it hadn’t been location shooting I suspect he would have.” — John Ellis on Facebook, recently.
HE comment #1: Every Robinson scene was shot on the Paramount lot — zero location work. HE comment #2: Charlton Heston didn’t embarass hiumself — he obviously knew a lot of what he was called upon to perform was swill, but he got through it with dignity. HE comment #3: Sir Cedric Hardwicke and Vincent Price also played their lines with perverse humor.
I don’t know when I’ll be able to stream Woody Allen‘s Coup de Chance. A streaming bootleg will probably be available before too long, but I’d love to catch it in a nice theatre somewhere. Alas, the #MeToo Stalinists won’t permit it.
How does it feel to suppress art, guys? To still the beating of a pulse? I’ll bet it burns your ass that Woody is alive and thriving.
— Whit Stillman (@WhitStillman) September 24, 2023
Apologies for only just reading Leah Reich’s 9.11 N.Y. Times profile of HE’s own Kristi Coulter and her book, “EXIT INTERVIEW: The Life and Death of My Ambitious Career.”
Amazon: “A candid, intensely funny memoir of ambition, gender, and a grueling decade inside Amazon.com, from the author of Nothing Good Can Come from This.”
Kristi’s brand was completely respectful and admirable before I read this, but now I’m feeling the fervor. If any veteran of the HE threads (particularly “George”) ever says anything unkind or disrespectful about Kristi I will dedicate myself to their HE termination, even if I have to do it manually on an hour-by-hour, day-by-day basis.
Here’s a fast and blunt assessment of Scott Feinberg’s handicapping of Best Actor and Actress hotties, posted on 9.21.23.
BEST ACTOR FRONTRUNNERS:
Cillian Murphy, Oppenheimer — HE: I realize he’s a likely nominee, but he wears the same chilly, cold-eyed, alien-from-Betelguese expression in every scene.
Colman Domingo, Rustin — HE: A spirited channelling of an iconic, live-wire activist that conveys nothing except Domingo’s idea of a spirited performance. He’s so full of love and tingling energy that he almost puts you to sleep.
Leonardo DiCaprio, Killers of the Flower Moon — HE: As Ernest Burkhart, Leo is essentially playing a weak-willed, none-too-bright cockroach. He’s completely invested and believable, but who wants to concentrate upon, much less celebrate, the moral writhings of an Oklahoma yokel?
Paul Giamatti, The Holdovers — HE: A masterful, onion-peeled, drop-by-drop performance of an unhappy older fellow with a snappy tongue…a history professor humming with resentment…sad and smart and as honest as performances of this type get.
Bradley Cooper, Maestro — I haven’t seen it, but the word on the street is that Carey Mulligan blows Cooper off the screen.
Haven’t yet seen Adam Driver in Ferrari or Joaquin Phoenix in Napoleon, but if you ask me it’s Giamatti’s Oscar to lose. He should have won for Sideways — nobody with a brain disputes this,
BEST ACTRESS FRONTRUNNERS:
Annette Bening, Nyad — haven’t seen it but given the prickly reactions I heard in Telluride it’ll be quite the triumph for Bening to land a nomination,
Emma Stone, Poor Things — HE: Definitely the front-runner as we speak.
Margot Robbie, Barbie — HE: A likely nomination but think of Robbie’s exaggerated, chirpy-robot manner…do we really want to celebrate this kind of wind-up-doll acting?
Lily Gladstone, Killers of the Flower Moon — HE: Gladstone’s intention to go for Best Actress may result in a nomination, but it’s a tactical mistake. She should go for supporting. Her campaign is strictly an identity pitch. Gladstone performs decently as Mollie Burkhart, but she has no (i.e., wasn’t given any) big moments. Most of the time she just glares at the bad guys and lies dying in bed.
Carey Mulligan, Maestro – haven’t seen it,
Sandra Hüller, Anatomy of a Fall — HE: A genuine, fully-lived-in performance — diary of a survivor of a fraught marriage.
Greta Lee, Past Lives — HE: Nope.
Aunjanue Ellis-Taylor, Origin — haven’t seen it.
As we speak it’s Stone’s Oscar to lose. If Gladstone wins it’ll be another equity-over-quality joke, thanks to the fanatical New Academy Kidz.
A great many people took notice when Edward Dmytryk‘s The Caine Mutiny opened exclusively at Loew’s Capitol (B’way between 50th and 51st, directly across from the still-in-existence Winter Garden) on Friday, 6.25.54.
It was a much bigger deal to see Dmytryk’s Technicolor WW2-era film inside the cavernous Capitol (a deluxe 5000-seater where the Oscar-winning From Here to Eternity had premiered ten months earlier) than it will be for older viewers to flop on the couch and “watch” Freidkin’s film, paying sporadic attention while surfing-and-texting, feeding the pets, taking out the garbage, etc.
Roughly a month later Elia Kazan‘s On The Waterfront — a gritty, black-and-white, working-class drama set in wintry, down-at-the-heels Hoboken — would open at Loews Astor (1141 seats) on Wednesday, 7.28.54.
Jean Negulesco‘s Three Coins in the Fountain, a schmaltzy Rome travelogue romance, had opened on 5.20.54.