Jason's Blog, page 191

And another page

This is a page from the fourth story in my next book, Athos in America.

Lee Marvin

Moving on: Lee Marvin, starting with The Killers. Except the title and the opening of the resignated man not running from the men who have come to kill him, the film has absolutely nothing to do with Ernest Hemingway's short story. Lee Marvin and Clu Gulager are the killers, John Cassavetes the victim, Angie Dickinson (before she became a blonde) the femme fatale and as the bad guy... Ronald Reagan!

As with the original film - by Robert Siodmak, made in 46, starring Burt Lancaster and Ava Gardner - the story of why Cassavetes doesn't run is told in flashbacks. This version of the film feels more dated than the original, though. The back projections during the racing scenes don't help. The dialogues between Cassavetes and Dickinson are not even near anything real people would say. That's okay, but they don't reach that level of twisted poetry either that you find in the best of these films. Unfortunately, there was a problem with the disc and I was unable to watch the last five minutes of the film. Anyway, most of all it made me want to rewatch the original. And Angie, you should have stayed a brunette!

The Sting

Paul Newman and Robert Redford are grifters playing the big con on ruthless gangster Robert Shaw. Directed by George Roy Hill.

How many times have I seen this film? I don't know. Many times. Even though you know how it's going to end, it's one of the most entertaining films ever made. You can still enjoy the perfect script, the music and the seamless recreation of Chicago in the 30s. And were Newman and Redford moviestars or what? Maybe the most magical thing about the film is that after the big success of Butch Cassidy and The Sundance Kid they tried to recapture lightning in a bottle, with the same two main actors and director, and... they succeeded! How often does that happen? Not often. You follow?

The Verdict

Paul Newman is an alcoholic ambulance chaser who gets one last chance to redeem himself. Also starring James Mason, Charlotte Rampling and Jack Warden, written by David Mamet, directed by Sidney Lumet.

Newman aged pretty gracefully on screen. This is probably one of his best performances, the one he should have gotten an Oscar for. Rampling is at her most mysterious. The film was shot during the winter; it always adds something when you can see the breath of the actors. About one third into the film you start thinking that of course Newman is going to win the case, and probably the girl as well - you already know how it's going to end, but actually, the film avoids the easy Hollywood happy ending and rather goes in a more interesting direction, ending with a question.

Cool Hand Luke

Paul Newman is a sent to jail where he's working on a chain gang. Also starring George Kennedy and lots of familiar faces from American film and tv, including Dennis Hopper and Harry Dean Stanton, directed by Stuart Rosenberg.

-What we got here is a failure to communicate.
-Oh yeah? What's the problem?
-You, jerk face. You think this movie is any good?
-Yes, it's one of the classic anti Establishment films from the late 60s / early 70s. It reminded me of both Papillon and One Flew Over The Cuckoo's Nest.
-Is it as good as those films?
-Yes, I think so. It's got the two famous scenes, the woman doing the carwash infront of the chain gang and the one with Newman eating 50 eggs. Those are real movie moments. And there can be something strangely uplifting about prison movies, about how the spirit can't be broken.
-You're full of shit!
-Says who?
-Says me, that's who!
-Oh, yeah?!
-Yeah!!

etc.

Cover...

... for a magazine. And happy holidays!

The Hustler

Paul Newman is a pool hustler shacking up with alcoholic student Piper Laurie. Also starring George C Scott and Jackie Gleason, directed by Robert Rossen.

It's another great film, made the year before Hud, shot in black and white that perfectly captures the atmosphere of the poolhalls, rooming houses and bars the characters live in. Again, it's a pretty dark film. You constantly have the feeling it's not going to end well, and it doesn't. You never notice the camera moves or the editing, it's all about the story and the characters. It's the sort of invicible direction that you almost never find in movies these days, but rather have to go find in tv shows like The Wire or The Sopranos. Another great performance by Newman - cocky, but never obnoxious (Tom Cruise, I'm looking at you!). During the endcredits I noticed Jake LaMotta - The Raging Bull - had a small part in the film as a bartender.

Hud

Paul Newman is Hud, a cowboy working on his father's farm somewhere in Texas. A case of foot and mouth-disease endangers their livelihood and widens a rift between father and son. Based on the novel by Larry McMurtry, also starring Patricia Neal and directed by Martin Ritt.

The film takes place in the same world as The Last Picture Show, another novel by McMurtry. It might even be the same little town for all I know; there's a scene where Hud's father and nephew go to the movies. It's the kind of Godforsaken small town hole that can't be too fun to live in but that looks very cinematic on the screen. The film, shot in black and white, is quite dark. Newman plays a rather unappealing, selfish character - there's even a scene where he tries to force himself on Patricia Neal, the farm's housekeeper. It's a good performance by Newman. Films from this period - the film was made in 62 - are often quite interesting. They are sometimes more ambiguous than the classic Hollywood films from the 40s and the 50s but not yet as selfconscious and arty as the films that came later in the 60s by the new filmschool generation.

Paul Newman

Got some new Paul Newman films, and I will also rewatch some other ones. Starting with Cat on a Hot Tin Roof, based on the Tennessee Williams play, also starring Elisabeth Taylor and Burl Ives, directed by Richard Brooks.

Paul Newman doesn't want to fuck Elisabeth Taylor. Already there the film is a bit hard to believe. This is even before the rest of the cast turns up and start calling each other things like Big Daddy and Sister Woman. Okay, he's Paul Newman and can get whoever he wants, but still... Taylor walks around in her underwear and Newman rather wants to get drunk? Oh yeah, that's right, he's got some daddy issues and also believes Taylor fooled around with Skipper, a football buddy. At the same time his brother, Gooper, tries to steal his inheritance. (Am I remembering these names correctly?) There's a lot of yelling and shouting, of course, and there's a nice bit with Newman's crutch as a symbol, but this seems to be a rather minor Tennessee Williams play.

Some old strip