PAST AND FUTURE GHOSTS

RECOMMENDED READING

An important article for film buffs:  Nick Bilton, “That’s All Folks!” in Collector’s 23rd Annual Special Edition, 2017 of Vanity Fair.  Beginning on p.140.  This is a meaningful article for anyone interested in the past and/or the future of Hollywood moviemaking or interested in any aspect of film.

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MOVIES ARE EVERYWHERE

…and especially in good books.

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“Eliot Ness?  You mean like Robert Stack?”
“So it’s not like the movies?”   –   “Is anything?”

That first quotation from Casey Daniels’ paranormal mystery Graveyard Shift has to do with television, but  quotable cinematic goodies dot the pages throughout the latest comic but scary and suspenseful adventures of sleuth Pepper Martin.

“Crawling inside the house was another story.  /  I got in, and not gracefully, and found myself in a back room that was obviously used as a sort of den.  My flashlight app revealed a flat-screen TV in one corner,a couch across from it, and movie posters on the walls:  Road to Perdition, Goodfellas, Donnie Brasco. /   I pictured Dean in there watching hour after hour of endless gangster movies, feeding his obsession day and night.”

Another entry:  “With the door fully open and Caleb standing back, I toed the doorway, totally stunned and feeling like Dorothy must have when she plunked down into a Technicolor Oz.”

Yet another entry and the finest of all:  “…I knew something was up as soon as my knuckles hit the front door.  /  It swung open. / I might not have a big brain, but I’m nobody’s fool and I’d seen plenty of horror movies.  /  I knew this was not a good sign, but just like all those heroines in all those horror movies, I went in, anyway.”  (Hear!  Hear!)

Graveyard Shift by Casey Daniels.  Great Britain and USA, Severn House, 2017

NEXT FRIDAY POST May 19

Until then,
See you at the movies,
Rick

 

THE GREAT J-L T

RICK’S JOURNAL (My Film Career)

The hard angles and chiseled edges of the face of Jean-Louis Trintignant have disappeared into the rounder, softer countenance of Georges in Amour.  The unforgettable eyes of the young widower in A Man and a Woman and the long-suffering husband in And God Created Woman glow still, now revealing wide experience and tough wisdom.  He has to slouch and poke his belly forward because he has not gained that weight of the post-35 male.

It has been a trial for this longtime fan of J-L T to live through an awards season in which award-givers were interested only in Emmanuelle Riva (who is superb in the film).  My only comfort occurred when Michael Haneke, accepting his Academy Award for writing, acknowledged both peformers, even mentioning Trintignant first.

John Heilpern, reviewing Amour in Vanity Fair wrote:  “No one weeps in Amour…Emmanuelle Riva and Jean-Louis Trintignant leave the tears to us, and within their magic achieve a state of grace.”  Heilpern says it all, except that I should like to add that both performances are impressive for their very lack of bravura.  Neither has a big scene, neither has that great moment.  These two giants just play their parts.  They are so real that you are never aware of acting.

My favorite performances by Jean-Louis Trintingant:

1956 – And God Created Woman
1961 – The Seven Capital Sins (He is in the “La Luxure”
            episode directed by Jacques Demy)
1966 – A Man and a Woman
1969 – Z
1971 – The Conformist
1983 – Confidentially Yours (This is Vive dimanche!,
            directed by Francois Truffaut)
1984 – Red
2012 – Amour

NEXT POST FRIDAY, MARCH 22

See you at the movies,
Rick