Obligatory farewell song:
https://www.youtube.com/watch?v=9C1BCAgu2I8
will finally treat cap with the reverence he deserves
cartoon porn Fashion Trends in the 1910s
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on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’That's your response?
on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’That's what you've got? on Open Mic for the week of 12/16/2024Huh. And Trump isn't even in the White House yet. on Are Republicans Waking Up?One thing that Trumpist voters are telling the Republicans in congress is that they shouldn't be afr…
on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’There have also been credible reports of teachers taking it upon themselves to do teach ins about th… on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’I oppose these a-holes all the time but it feels like being a trench soldier against an enemy that w…
on Open Mic for the week of 12/16/2024President-elect Musk has apparently killed the CR resolution. Shut down time people. on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’Diaspora Jews might not like Netanyahu or Likud but most of us hate Hamas more and did not like a bu… on Are Republicans Waking Up?Republicans in Congress seem to be willing to shut down the government for no reason other than Trum… on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’Well, let's go back to The View. I would have had her talk all sorts of touchy feely crap about unde…
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on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’
on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’ on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’ on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’ on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’ on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’ on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’ on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’
on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’ on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’ on Are Republicans Waking Up? on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’ on From Semafor: Kamala Harris’ digital chief on Democrats ‘losing hold of culture’ on Are Republicans Waking Up? on Are Republicans Waking Up?
I remembered the name, but I couldn’t place it, so I just checked IMDB. And not to be a jerk, but in his movies, there was just something…missing. I can’t put my finger on it. It worked to his advantage in The Graduate. But some of the others, I think of them as movies that just sort of ran until they ended. I know that sounds like a complaint about writing, but there were so many cases of that. Silkwood, Working Girl, even The Birdcage and Primary Colors. There was a lack of tightness, of urgency in them. Biloxi Blues was fully satisfying, but that was as tight a script as you’ll ever find in Hollywood or Broadway. But like, Wolf – that should have had an immediacy about it, but it didn’t. It had some crisp scenes, but I should have been on the edge of my seat during that movie.
If I have a bias on this, it’s because of a pet theory of mine that you can tell the quality of a director by the performance he gets out of Harrison Ford. The man can be totally alive or totally dead on camera. I haven’t seen Regarding Henry, but Working Girl struck me as one of his bad performances.Report
Side note, look at the list of directors that Harrison Ford has worked with. It’s phenomenal.Report
Regarding Henry blew chunks.Report
@glyph
But Carnal Knowledge is really good!Report
Regarding Henry blew chunks.
I no longer feel like I went quite too hard on the recently deceased.Report
Sorry, that movie made me really mad. Apparently I never got over it.Report
I remember grey carpet.Report
Grey before the movie started blowing chunks all over it, anyway.Report
I don’t know. I liked Harrison Ford in American Graffiti and Star Wars and Indiana Jones and I hesitate to call George Lucas a good director. He seems to be a largely wonderful human being but he is no Kurosawa or Truffaut.Report
Spielberg directed the Indiana Jones movies.Report
Ford on Lucas’s dialog:
“George, you can type this shit, but you sure as hell can’t say it.”Report
I enjoyed Silkwood, but it is in the social realist vein, which I enjoy. I can see how it might seem loose. His movie work can be a bit uneven. His Broadway work was supposedly stronger. And the Nichols and May bits are genius.Report
1) Thoughts go out to his wife Diane Sawyer and his daughter-in-law Rachel Nichols.
2) He won an Oscar for directing The Graduate.
3) Elaine May is still alive at 82.
4) It could be argued that Nichols is directly responsible for the breakup of Simon & Garfunkel.Report
https://www.youtube.com/watch?v=kDUYOiu3N0YReport
Tom, get your plane right on time.
I know your part’ll go fine.
Fly down to Mexico.Report
For those who don’t understand @mike-schilling ‘s lyrics, they are from “The Only Living Boy in New York”.
Paul Simon wrote the song in response to Art Garfunkel [Tom] going to Mexico to act in Catch-22.
Considering that Garfunkel didn’t act in a non-Nichols direction until 1980, it is safe to say that the only people who thought he could act were Nichols, himself, and his mother.
Simon went on to record some more music…Report
I can’t think of another director starting out with such a strong and diverse streak of films (and in only five years): Who’s Afraid of Virginia Woolf?, The Graduate, Catch-22, and Carnal Knowledge are all masterworks. Catch-22 is often overlooked but it’s amazing what Nichols was able to do with a seemingly un-filmable book.
I agree with @Pinky that there is some kind of hollowness to those films, but I think it’s a reflection of the main characters. These four films, in particular, are about individuals that are lost in a changing world and only know how to react in self-destructive (and I would add, typically male) ways – by lashing out at at those around them or shutting themselves off. The movies feel like they just run out because the characters are incapable of leaving the spirals they are in. Even in The Graduate, which has by far the happiest ending, Nichols lets the camera rest on Ben and Elaine as a visual ellipsis. It makes us realize that these two people continue to exist after the cameras stop rolling, and their lives still have to move somewhere – maybe forward, maybe not – with all the same hangups and conflicts they had that morning.
Nichols may have relied on this ellipsis a little too much in his later films, but, man, in those first four he’s completely on fire.Report
DId The Graduate have a happy ending? In the last shot, they’ve both got “What the hell did I just get myself into?” written all over their faces.Report