Don’t Let it Be Forgot

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…how grim, gray, slushy and bitingly windy those Boston winters can be. And how much those stirring indoor reflections and realizations can mean in this atmospheric context.

Platt’s Snappy Energy Still Felt

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Ryan O’Neal‘s passing returned me to a nice ’90s friendship I had with the late producer Polly Platt, who was married to Peter Bogdanovich between the late 60s and early ’70s, and was a key creative contributor to PB’s Targets, The Last Picture Show, What’s Up Doc and Paper Moon. Talk about your glorious days of early ’70s cinema. Platt, Bogdanovich and O’Neal were joined at the hip for two or three years back then (along with several other hip industry hots). Now all three arw gazing down upon the planet, like Keir Dullea at the end of 2001.

“Dearest Polly Platt,” posted on 7.27.11: “The death of Polly Platt from Lou Gehrig’s Disease (a truly horrible way to go) was announced today. I knew and liked Platt, and I’m truly sorry that’s she gone. She was a whip-sharp, very perceptive producer and production designer who flourished in the late ’60s, ’70s, ’80s and ’90s. In her prime she was a master at working this town. She knew everyone and everything. Her mind was incandescent. One of the sharpest, shrewdest and most nakedly honest X-factor creatives I’ve ever known.

I had a pretty good relationship with her in the ’90s when I wrote for Entertainment Weekly, People and the L.A. Times. She helped me with various “this is what really happened” stories from time to time, especially when she worked for James L. Brooks and produced I’ll Do Anything and Bottle Rocket.

She offered friendship, political support and wise counsel to Wes Anderson, Owen Wilson and Luke Wilson during the making of Bottle Rocket. The odd thing is that Platt told me she didn’t think that their movie, now regarded as a seminal ’90s film, had turned out all that well. She thought it should or could have been something else, I guess.

Platt started in the late ’60s as a production designer, and then segued into producing (and exec producing) in the mid ’80s with Broadcast News, Say Anything, The War of the Roses, the afore-mentioned I’ll Do Anything and Bottle Rocket, and The Evening Star. She did the production design on The Witches of Eastwick, Terms of Endearment, The Man with Two Brains, Young Doctors in Love, A Star Is Born (’76), The Bad News Bears, The Thief Who Came to Dinner, and four early movies with ex-husband Peter Bogdanovich — Targets, The Last Picture Show, What’s Up Doc and Paper Moon. She was Bogdanovich’s greatest creative counselor and political ally, Cybill Shepherd notwithstanding.

Honestly? I got a little pissed at Polly in ’94 when I FAXed her a letter about how she and Brooks and Columbia should consider releasing both cuts of I’ll Do Anything — the allegedly disastrous musical version that nobody ever saw plus the non-musical version that went into theatres. Platt showed that letter to Pat Kingsley, the tough, combative publicist who was repping Brooks (or the film) at the time. I was told that Kingsley took that letter to an Entertainment Weekly editor and said, “Look how Jeffrey Wells, who’s reporting on our film, is crossing lines by suggesting changes in our film…he’s not respecting journalistic boundaries.”

That was easily the most sickening move I’d ever suffered at the hands of an adversarial publicist. I wrote that letter out of passion for the musical form and respect for what Brooks had tried to do. And Kingsley tried to beat me with it, and Platt gave her the stick. I didn’t speak to Polly for about a year after that.

I sucked it in and made up with Polly a year later, and she helped a lot — a whole lot — with an L.A. Times Syndicate story that I wrote about Bottle Rocket in ’96.

Polly was a great lady to know and shoot the shit with. I’m sorry it ended for her after a mere 72 years.

Glazer Shock

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It seems to HE that LAFCA giving its top two trophies — Best Picture and Director — to The Zone of Interest and director-screenplay adapter Jonathan Glazer — was primarily a political-cultural gesture of support for Israel in its current Gaza conflict against Hamas.

And because of this timely symbolic stance three unmistakably superior or at least more exciting and inventive films, obviously lacking in terms of Zone’s moral astringence but (this is hardly a failing) with far more robust cinematic material, more sublime and emotionally abundant energy than can be found in Glazer’s necessarily grim and austere concentration-camp arthouse study…these three took the hit.

The Holdovers, Maestro and Poor Things, alas, were ceremoniously uncoupled from the main deck and allowed to fall into the sea — victims of an actual war and passed over for the same reason that Zone benefitted — Zone had the important symbolic echo factor and the other three didn’t.

C’mon…Glazer Over Cooper, Lanthimos and Payne?

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That’s perverse, man….not a fair, forthright, comprehensive call. Glazer’s The Zone of Interest obviously warrants respect for its chilling avoidist-strategy undercurrent, but it’s too dry, too minimalist, almost antiseptic.

LAFCA Best Director: Jonathan Glazer, The Zone of Interest (A24).
Runner-up: Yorgos Lanthimos, Poor Things (Searchlight)