The Cinematheque Francaise tribute to Phillip Noyce kicked off Wednesday night (10.27) and will run until Sunday, November 7. The after-event happened at L’auberge Aveyronnaise. Congrats and best wishes to Phillip, wife Vuyo Dasi, beautiful daughter Ayanda, colleagues & collaborators Jason Clarke and Svetlana Cvetko, et. al.

I wish I could’ve been there. I wish I was in Paris, period. I miss it.

All hail Newsfront (my first taste, way back in ’78), Heatwave, Dead Calm, Patriot Games, Clear and Present Danger (my personal favorite), The Saint, Rabbit-Proof Fence. The Quiet American (my second favorite), Catch a Fire, Salt, the under–rated Above Suspicion and Lakewood.

A big hoo-hah dinner at the Australian embassy is slated for Friday night. I’ll be missing that one also.

Nope, another five weeks to go. Why is it that I feel Benedetta‘ed out?

In Nora Fingscheidt‘s The Unforgivable (theatrical 11.24, Netflix 12.10), 50ish Sandra Bullock plays a woman who moves in with her younger sister after serving a 20-year sentence for a violent crime.

In Philippe Claudel‘s I’ve Loved You So Long (’08), Kristin Scott Thomas played a 40ish doctor who moves in with her younger sister after serving 15 years for the murder of her son.

13 year-old HE blurb: “In the remarkable, deeply penetrating I’ve Loved You So Long (Sony Classics, 10.24) , Kristin Scott Thomas gives an immensely sad but highly sensitive and attuned performance that you just know, minutes into it, will be with you the rest of your life. She draws you in like some sad-eyed lady of the lowlands, but she never sells anything. Start to finish, she dwells in this fascinating zen-grief space that just ‘is.’ She owns it…and from the moment the film begins, owns you.”

You have to know how to read Scott Feinberg‘s regularly updated Hollywood Reporter articles about Oscar spitball guesses. Yes, they reflect his “best attempt to predict the behavior of the Academy of Motion Picture Arts and Sciences and not his personal preferences,” but they also reflect a mid-fall decision that many handicappers make — i.e., it’s easer to insincerely approve of certain mediocre contenders because it’s early yet (not even Halloween!) and why not shrug our shoulders and go with the flow?

Feinberg’s Best Picture Frontrunners:

King Richard (Warner Bros., 11/19, trailer) / HE says: Almost certainly fated to win the Oscar.
Belfast (Focus, 11/12, trailer)
The Power of the Dog (Netflix. 11/17, trailer) / HE says: Will be nominated but that’s all.
A Hero (Amazon) / Excellent film, but belongs in Best Int’l Feature category.
C’mon, C’mon (A24, 11/19, trailer) / HE says “tech categories, otherwise not a chance.”
The Hand of God (Netflix, 12/3, trailer) /
CODA (Apple, 8/13, trailer) / Crowd-pleasing, sitcom-level, calm down.
The Harder They Fall (Netflix, 11/3, trailer) / Why?
Summer of Soul (Searchlight, 7/2, trailer) / a found footage documentary, doesn’t count.

In The Realm of Feinberg-Speak, “Possibilities” means “unlikely but who knows?”

Flee (Neon/Participant, TBD, trailer) / NC
Titane (Neon, TBD, trailer) /
Parallel Mothers (Sony Classics, 12/24, trailer) / HE says “utterly brilliant Pedro, his best in years!”
The Lost Daughter (Netflix, 12/31, TBD)
Spencer (Neon/Topic, 11/5, trailer)

In The Realm of Feinberg-Speak, “Longer Shots” means “dead in the water”

The Tragedy of Macbeth (A24/Apple, 12/25, trailer)
Cyrano (MGM/UA, 12/31, TBD)….wrong! Beautifully made, wonderfully acted by Peter Dinklage!
Tick, Tick…Boom! (Netflix, TBD, trailer)
Red Rocket (A24, 12/3, trailer)…grim silence after it played in Telluride’s Galaxy theatre.
The Green Knight (A24, 5/29, trailer)…one of HE’s worst endurance tests of the year….even worse than Dune in this respect.

Everyone knows that Vittorio Storaro‘s default, go-to aspect ratio is 2:1 — not 2.2:1 (70mm) or standard Scope (2.35:1) but 2:1. On 2.25.08 it was confirmed by Criterion’s Peter Becker that the intended aspect ratio of Bernardo Bertolucci‘s The Last Emperor, which Storaro shot, was 2:1.

On 10.17.21 a Team Deakins podcast it was confirmed by The Northman director Robert Eggers and dp Jarin Blasche that their upcoming has been shot in Storaro’s a.r.

I riffed on the “Viking Hamlet” aspect last January (“More or Less Hamlet“).

Focus Features will release The Northman on 4.8.22.

Criterion’s 4K digital restoration of The Incredible Shrinking Man (’57) is now out and about. Cheapskate that I am, I decided instead to watch the YouTube version. I’ve always respected the bargain-basement trick photography and physical effects that make this modest black-and-white film work as well as it does, and it was fun to once again relish the good parts.

But I’d forgotten there are two scenes that flirt with unintentional humor. The first comes when a TV news anchor reports that Robert Carey (Grant Williams), famed for a strange ailment that has caused him to get smaller and smaller, has been killed by his cat. He hasn’t been, in fact, but the anchor reports the news so grimly and with such lathered-on emotion that you can’t help but chuckle. The idea of an adult, mouse-sized human being crushed and bloodied by a house cat…I’m sorry but it’s oddly funny.

There’s a second scene in which Carey’s wife, Louise (Randy Stuart), is talking to her husband’s older brother (Paul Langton) about how horrible it must have been to be mauled and chewed to death, and again you can’t help but smirk. Why is it vaguely chuckle-worthy? I don’t know but it is.

Either you “get” cruel humor or you don’t.

Mort Sahl, one of the greatest, sharpest and most influential conversational comedians of the mid 20th Century, whom I was honored to interview at the Beverly Glen shopping plaza 18 or 19 years ago, has passed at age 94.

Saul was an iconic, whipsmart Jewish wit who focused on social trends and politics (he always carried a rolled-up newspaper in his hand). He rose and peaked in the era of Lenny Bruce, Steve Allen and Jackie Mason but hung in there and kept gigging for many decades to come.

Sahl was a Kennedy liberal in the early ’60s, then he became a Dealey Plaza assassination conspiracy buff, then segued into becoming a jocular Reagan Republican (chummy with Al Haig). I forget why I called him in ’02 or thereabouts, but I was delighted when he suggested a sitdown.

Sometime in the late ’70s a girlfriend and I caught a Sahl set on the North Shore. I forget the name of the club but it was in Revere, Swampscott, Lynn…one of those towns. We arrived 15 minutes before showtime, and my heart stopped — the room was one-third filled, if that. I felt so badly for the poor guy, but you know what? Sahl came out and did his show as if he was playing to a packed house at Carnegie Hall. Which deeply impressed me. As I sat and listened and laughed, I was thinking “wow, nothing but class…this is how a professional plays to a nearly deserted room.” Grace under pressure, never say die, the show must go on.

Heres a 2008 James Wolcott Vanity Fair profile called “Mort The Knife.”

I’ve riffed before about directors whose names sound right, and those that don’t.

Sidney Lumet, Ridley Scott, Jacques Tourneur, Howard Hawks, David Lean, Spike Lee, Samuel Fuller, Quentin Tarantino, Stanley Kubrick, George Roy Hill, Akira Kurosawa, John Huston, Ingmar Bergman…these are names that suggest character, chutzpah, cultivation, grand visual schemes and a certain force of personality.

But other names lack that special schwing, that association with arthouse refinement and elegant educations and verve and riding to hounds, and I’m sorry but Ari Aster and Robert Eggers, easily two of the finest younger directors working today, are among them.

Robert Eggers sounds like the last name of a construction foreman or a rugged craftsman of some kind, maybe a middle-range divorce attorney or a carpenter from White Plains or a landscape architect who wears courduroy sport jackets, or maybe a builder of early American furniture.

Ari Aster sounds like a Jewish tailor with a storefront in Brooklyn…maybe a sharp jewelry salesman or a dressmaker or a mob attorney or a bookmaker. He just doesn’t sound like a guy who hangs with the rich and famous and owns bitcoin and has a blonde girlfriend with rich parents.

Two and two-thirds years ago I complained about the 1930s and ’40s “house” director Clarence Brown. Victor Fleming, Michael Curtiz, Rouben Mamoulian, Mervyn LeRoy and even John Ford sounded like guys who played golf in the best country clubs. Clarence Brown sounds like an uncle of Alfalfa or Spanky in The Little Rascals series. Or the name of a wheat farmer, auto mechanic or grocery store owner.

In this sense Brown is a kindred spirit of Chad Stahelski, director of the three John Wick movies. Stahelski is the last name of an electrician, a surfer, a pool-maintenance guy, a hot-dog chef at Pinks, a garbage man (excuse me, a sanitation engineer) or a guy whose grandfather worked in the same New Orleans factory as Stanley Kowalski.

Posted on 8.19.08: “If I were Saul Dibb, director of The Duchess, I would have changed my name the day I decided to become a filmmaker.

“Saul Dibb could be an architect, a restaurant owner, a tailor, a stockbroker, the owner of a roofing company, a garment-district clothier, a cab driver or even a stage director, but something doesn’t feel quite right about a guy with that name delivering an upscale period piece aimed at the ladies. It seems to somehow diminish that sexy, elegant 18th Century vibe that films of this sort are supposed to deliver.

“No comment on the film itself, mind — I’m just saying that ‘Dibb’ rhymes with ‘bib,’ ‘fib” and ‘squib.’ I wouldn’t want to see a Barry Lyndon-era romance directed by Maury Schlotnik, Sidney Schwartz, Lenny Bruce or Mort Sahl either.”