poets like maggie smith

Old Favorites re-viewed on a big theatre screenSpectre (2015) I don’t quite know why there’s been so little love for the 24th Bond. Adapted by Luther Davis from the equally visceral novel by Wally Ferris, with Anthony Quinn and the great Yaphet Kotto. The Marx Brothers in a Nutshell (1982) Robert B. Weide again.

because now it can. Had she been a more daring, or in any case a different sort of playwright, Allen might not have matched Spark but she could have at least maintained pace with the novelist theatrically. This tearstained wall and constant Carlton-Brown of the F.O. This is something she knows, but does not share with her children, … Even when you trim a tree, And Orson Welles had what was arguably his best role in a movie not also written by him. Theatrical DocumentaryI Am Not Your Negro.

the rain will stop.

pitching through the porthole. It was put back in for the DVD release, and reveals definitively that nothing was lost by its excision three decades ago. Good as Joseph Cotton is, once you hear that bit of casting-that-might-have-been, it’s almost impossible to refrain from imagining Stewart’s unique delivery every time “Holly Martins” speaks a line. French Connection II (1975) The rare sequel that succeeds on its own terms; although it was made during the period of John Frankenheimer’s acutest alcoholism it bears his trademark intelligence, verisimilitude and equal care with both action and actors.

The Summing-UpSo. Maggie Smith is the author of Good Bones (Tupelo Press, 2017), The Well Speaks of Its Own Poison (Tupelo Press, 2015), Lamp of the Body (Red Hen Press, 2005), and three prizewinning chapbooks. Some mediocrities, but no real dogs this year, which was nice. black shadow. Brodie, perhaps appropriately for a novel whose center is not so much eccentricity but sexual jealousy, is in a curious way represented by two sets of women: One literary, the other histrionic.

I finally got to see it again when it was reissued in 1973. Act of Violence (1949)A nicely-observed thriller starring Van Heflin, the young Janet Leigh and a typically stellar Robert Ryan that gets at some dark aspects of World War II mythology and contains one sequence, in which a stalking, menacing Ryan is heard but never seen, that is unlike anything I’ve ever encountered before. while I braid your bath-damp hair.

Mary Poppins (1964) This may have been the first movie I ever almost saw, during the summer following its record-breaking release, which would have put me at around four and a half.

The Night of the Following Day (1969) One of many late-1960s Brando pictures that helped make him box-office poison, this adaptation of a Lionel White thriller boasts an impeccably arranged kidnapping, a very fine performance by Brando, a good one by Pamela Franklin as the victim, and an unequivocally great one by Richard Boone as the most terrifying of the felons. I don’t claim for Brodie the same greatness one confers on the finest prose — it isn’t a patch on, say, Doctorow’s or Morrison’s or Fitzgerald’s — but if it isn’t first-tier, it’s nonetheless an entrancingly high second. Also included is the single most painful interview I’ve ever seen — and surely one of the most awkward Cavett ever conducted — with Mark Frechette and Daria Halprin, the beautiful but weirdly inarticulate stars of Zabriskie Point. The character, as Behn wrote him, is an attractive young man, which makes his position within a group of spectacularly selfish mercenaries eminently explicable. Smith is also the author of three prize-winning chapbooks. Interview with Maggie Smith.

(I don’t count the 1980 Special Edition.). gets compressed, layered. It has to stop. As Pauline Kael once observed: Life’s too short to waste time on some stinky movie.

New to Me: Meh…Not With My Wife You Don’t! On film Smith has been better (as in Ian McKellan’s Richard III and, especially, the flawed but almost agonizingly effective The Lonely Passion of Judith Hearne), more quietly plangent (Hot Millions, A Room with a View), wittier (A Private Function) and far funnier (Murder by Death, California Suite.) Selected Short SubjectReturn to Glennascaul (aka, Orson Welles’ Ghost Story, 1953) Despite that second title, it’s not really his; Welles appended cinematic bookends to an atmospheric short picture made by Hilton Edwards. Journey into Fear. Grateful thanks to my good friend Eliot M. Camarena for enlightening my movie year, and special thanks to him for Act of Violence, The List of Adrian Messenger, Moulin Rouge, Point of Order, Up Tight, Westward the Women, and especially The Kremlin Letter and Track of the Cat. Features superb photography by the redoubtable Gabriel Figueroa and an otherwise pleasing Morricone score almost undone by an annoying recurrent “hee-haw” motif.

(1949) Graham Greene wrote it. Made for televisionThe Epic That Never Was (1965) On the aborted I, Claudius starring Charles Laughton. That Mackay is small-minded in her attitudes and, as such, a much greater, because institutionalized, danger to her young charges than Brodie could ever be, does not mitigate her belief in the essential order of things, a tenet as unalterable as Brodie’s more flamboyant devotion to, as an insidious phrase of hers insinuates, molding her girls in her own implacable image. I honestly thoughtAll we would ever be was friends When I first met you... more », Some people don't get the way I hurt Some people don't understand the way I feel. Firecreek (1968) A downbeat Western starring James Stewart and Henry Fonda that is, in Calvin Clements’ incisive screenplay, about as despairing of human nature as it’s possible to get without the viewer wanting to slash his or her wrists.

I suspect it was largely that very concluding encounter that led him to prefer Rachel, itself — despite being one of the most deeply affecting portraits of loneliness ever committed to film — slightly hysterical.

Kukla, Fran and Ollie: The Lost Episodes (Volumes I, II and III) One of the loveliest video events of the last few years has been the release of these utterly charming kinescopes by the Burr Tillstrom Trust, which is currently working to restore 700 additional episodes. But after stumbling across a second-hand Blu-ray copy for an absurdly low price I thought I’d at least give it a spin. There’s a nice Twilight Zone in-joke in the Air Force operation code-named “Operation Walking Distance,” and the kids are just about perfect, especially the endearingly sweet Joel Courtney and the almost preternaturally poised Elle Fanning. The Aristocats (1970) Another I was less critical about when it was new, which seemed a bit bland on video but which now looks awfully good, and that in spite of its borrowings from the infinitely superior 101 Dalmatians and Lady and the Tramp, transposed to felinity. Some days, I don’t even know how to be. New to Me: More than worth the tripStar Wars: The Force Awakens (2015)I avoided the theatrical release of this one in a manner not unlike my aversion to the first Star Wars picture when I was 16, largely due to my loathing of the Disney Company. Anton Karras performed the soon-to-be ubiquitous music. Do I choose The Adventures of Huckleberry Finn for its sparkling vernacular, its unerring narrative voice, its rich humor (and equally rich horror) and the masterly fashion in which it confronts, head on, the essential hypocrisy of American racism? Lucille Ball, Jack Benny, Carol Burnett , Mel Brooks, George Burns, Bill Cosby and Jerry Lewis fascinate and delight; Groucho Marx banters deliciously with his young goyishe friend; Dick fawns all too fannishly over a smug, queer-baiting Bob Hope; the Smothers Brothers behave strangely (it seems to be a put-on, but of what?) No.

Isn’t there any other plot available in that galaxy?

Although the computer technology, then new, is hopelessly dated now, the picture’s dialogue is refreshingly quirky, and every scene is a small gem of comic observation.

I always think about that when I see the picture.). Black Sunday (1977) An immensely entertaining adaptation of Thomas Harris’ topical thriller about a Black September plot, directed in high style by John Frankenheimer. Juggernaut (1974) A taut, entertaining thriller directed by Richard Lester concerning a bomb set to destroy a pleasure-liner at sea. This may be what I mean when I maintain that The Prime of Miss Jean Brodie, in common with those novels we return to again and again at irregular intervals as our lives progress, yields greater pleasures and pithier insights with each new reading. It isn’t much, but for the much it isn’t, it’s rather charming. Monster mash: “Frankenstein” and his sequels, Gods and Monsters: “The Bride of Frankenstein” (1935), The talented Mr. Beatty: “Rules Don’t Apply” (2016), Who were those guys? The Great Race (1965) Another favorite of long-standing. Maybe Ragtime for its astonishing style and sweeping vision? Chisholm ’72: Unbought and Unbossed. by Ann van Buren. The Ghost and Mr. Chicken (1966) A favorite comedy, given a rare screening by the Carolina Theatre in Durham. My favorite movie, and I always see something new in it; this time I focused on Billy Wilder’s astonishing technical achievement in matching Tony Curtis’ lips to Paul Frees’ looping of “Josephine”‘s dialogue. Hot Millions (1968) A sleeper hit of its year, impossibly dated now in its then-striking use of computer technology, this Peter Ustinov-written comedy starring him and Maggie Smith is a movie that, for me, is a test of potential friendship. : Tex Avery Screwball Classics Volume 1 (1943 – 1958), If there’s nothing else, there’s applause: “All About Eve” (1950), Minority rule: “To Kill a Mockingbird” (1962), Obedience is Liberty: Or, Newspeak as a way of life, The fool in charge: Carl Reiner, 1922 – 2020, Home again, home again: “Texasville” (1990), To live like a human being: “The Bridge on the River Kwai” (1957), Violent delights: “Romeo and Juliet” (1968), Chekhov in Modesto: “American Graffiti” (1973), Flying: “Three Days of the Condor” (1975), Unreasonable facsimile: “Anything Goes” (TV, 1954), O.K.

There is no comment submitted by members.. © Poems are the property of their respective owners. He’s a bright, if unworldly, embezzler whose dream is to conduct a symphony orchestra. Up Tight (1968) Jules Dassin’s return to American moviemaking is a spirited “fuck you” to everything the studios, and the audience, held dear.

I still think it’s too self-consciously hip for its own good, especially in Phil Harris’ anachronistic vocal performance, but the character animation seems to me wonderfully expressive, especially that by Frank Thomas and Ollie Johnston, who did half the picture by themselves. I had the Jungle Book comic (I wore the over off that one through obsessive re-reading), Jungle Book Disneykins figurines from Royal Pudding, Jungle Book temporary tattoos, Jungle Book books, and, of course, the Jungle Book soundtrack album, which I wore to a veritable hockey-puck. Seeing it again, however, I was struck by the intelligence of Kurt Luedtke’s dialogue, how skillfully he lays out his narrative, and how deeply satisfying his denouement — which seemed at the time merely clever — really is. Know its characters, and its slight, impressionistic plot as well as you might from a previous reading, or from either the play or the famous movie (or indeed the seven-part British miniseries) made from it and this slim, slightly autobiographical tapestry continues to delight from inauspicious beginning to unforgettable end, each successive reading over time revealing more of its perfectly pitched tone, its striking manipulation of the temporal, its ironic (but never bitter) detachment, and the mellifluous, biting (but never savage) dialogue of which Spark was long a past-mistress.

The world Abrams’ middle-school protagonists inhabit is similar to that of my own high-school years, and that specificity (explicable only when you discover that in 1979 the writer-director was 13) grounds the blissfully scary goings-on, and one is struck from the first frames by how keen an eye its filmmaker has for the wide-screen image.

Ask me instead which novels I’ve read most often —  that’s a much easier one.


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