Blast From The Past: The Outsider (dir by Arthur Wolf)


The year was 1951 and Susie Jane was struggling to fit in at school.  While everyone else was planning dances and hanging out at the malt shop, Susie was standing off to the side, quietly.  Why was Susie Jane such an outsider?  Was it the fault of her peers or was it her fault for being such a nonconformist?

This educational short, from Young American Films, puts most of the blame on Susie.  Yes, the film suggests, her classmates could have made more of an effort to include her.  But Susie also should have made more of an effort to fit in and she shouldn’t have been so quick to assume that everyone was against her.  Susie might think that Marcy is only calling the house to taunt her but Marcy is actually calling because she feels guilty and obligated.  

The short film may feel like one of the films that Herk Harvey made before directing Carnival of Souls but this film was actually directed by Arthur Wolf.  The narrator, I have to say, is a bit of a jerk and spends the entire film talking down to Susie.  Susie’s having a hard enough time without having to put up with all of that!  That said, the film also takes a very 1950s approach to the issue of fitting in.  Susie’s an outside because she’s shy.  No consider is paid to the idea that maybe Susie just isn’t interested in doing the same thins as everyone else.

From 1951, here is The Outsider.

Here Are The 2021 Nominations of the Georgia Film Critics Association!


Here are the 2021 nominations of the Georgia Film Critics Association!  They’re not quite as much fun as the nominations for Hawaii.  Sorry, everyone.

However, like the critics in Hawaii, the Georgia critics will be announcing their winners on January 14th!

Best Picture
BELFAST
CODA
DUNE
FLEE
THE GREEN KNIGHT
LICORICE PIZZA
THE POWER OF THE DOG
TICK, TICK… BOOM!
WEST SIDE STORY
​THE WORST PERSON IN THE WORLD

Best Director
DUNE – Denis Villeneuve
THE GREEN KNIGHT – David Lowery
LICORICE PIZZA – Paul Thomas Anderson
THE POWER OF THE DOG – Jane Campion
WEST SIDE STORY – Steven Spielberg

Best Actor
Nicolas Cage – PIG
Benedict Cumberbatch – THE POWER OF THE DOG
Peter Dinklage – CYRANO
Andrew Garfield – TICK, TICK… BOOM!
Will Smith – KING RICHARD

Best Actress
Lady Gaga – HOUSE OF GUCCI
Alana Haim – LICORICE PIZZA
Agathe Rousselle – TITANE
Kristen Stewart – SPENCER
Rachel Zegler – WEST SIDE STORY

Best Supporting Actor
Bradley Cooper – LICORICE PIZZA
Colman Domingo – ZOLA
Ciarán Hinds – BELFAST
Jason Isaacs – MASS
Troy Kotsur – CODA
Kodi Smit-McPhee – THE POWER OF THE DOG

Best Supporting Actress
Ariana DeBose – WEST SIDE STORY
Ann Dowd – MASS
Kirsten Dunst – THE POWER OF THE DOG
Kathryn Hunter – THE TRAGEDY OF MACBETH
Ruth Negga – PASSING

Best Original Screenplay
BEING THE RICARDOS – Aaron Sorkin
BELFAST – Kenneth Branagh
LICORICE PIZZA – Paul Thomas Anderson
MASS – Fran Kranz
TITANE – Julia Ducournau

Best Adapted Screenplay
CODA – Sian Heder
DRIVE MY CAR – Ryusuke Hamaguchi, Takamasa Oe
THE GREEN KNIGHT – David Lowery
THE POWER OF THE DOG – Jane Campion
WEST SIDE STORY – Tony Kushner

Best Cinematography
DUNE
THE GREEN KNIGHT
THE POWER OF THE DOG
THE TRAGEDY OF MACBETH
WEST SIDE STORY 

Best Production Design
DUNE
THE FRENCH DISPATCH
THE GREEN KNIGHT
NIGHTMARE ALLEY
THE TRAGEDY OF MACBETH

Best Original Score
DUNE – Hans Zimmer
ENCANTO – Germaine Franco
THE HARDER THEY FALL – Jeymes Samuel
THE POWER OF THE DOG – Jonny Greenwood
SPENCER – Jonny Greenwood

Best Original Song
“Dos Orugitas” from ENCANTO
“Guns Go Bang” from THE HARDER THEY FALL
“Just Look Up” from DON’T LOOK UP
“No Time to Die” from NO TIME TO DIE
“So May We Start” from ANNETTE

Best Ensemble
CODA
DUNE
LICORICE PIZZA
MASS
THE POWER OF THE DOG

Breakthrough Award
Alana Haim – LICORICE PIZZA
Jude Hill – BELFAST
Cooper Hoffman – LICORICE PIZZA
Emilia Jones – CODA
Agathe Rousselle – TITANE
Rachel Zegler – 

Best Foreign Language Film
DRIVE MY CAR
FLEE
THE HAND OF GOD
PETITE MAMAN
TITANE
​THE WORST PERSON IN THE WORLD

Best Animated Film
ENCANTO
FLEE
LUCA
THE MITCHELLS VS. THE MACHINES
RAYA AND THE LAST DRAGON

Best Documentary Film
THE FIRST WAVE
FLEE
THE RESCUE
SUMMER OF SOUL (…OR WHEN THE REVOLUTION COULD NOT BE TELEVISED)
VAL

Oglethorpe Award for Excellence in Georgia Cinema
ANGIE (short)
BLACK WIDOW
CLEAN SLATE
CONGRATULATIONS (short)
COPSHOP
A FIRE WITHIN
RED NOTICE
RESPECT
SPIDER-MAN: NO WAY HOME
THE SUICIDE SQUAD

Here Are The 2021 Nominees of the Hawaii Film Critics Society!


Yesterday, the Hawaii Film Critics Society announced their nominations for the best of 2021!  The neat thing about the Hawaii Film Critics is that they also give out awards for the Best Horror Film, the Best Sci-Fi Film, and the Worst Films of 2021!  So, if you like lists, you’ll like our friends in Hawaii.

The winners will be announced on January 14th.  Here are the nominees!

BEST PICTURE
Belfast
CODA
Last Night in Soho
Mass
The Power of the Dog

BEST DIRECTOR
Kenneth Branagh – Belfast
Jane Campion – The Power of the Dog
Destin Daniel Cretton – Shang-Chi and the Legend of the Ten Rings
Guillermo Del Toro – Nightmare Alley
Sian Heder – CODA

BEST ACTOR
Nicolas Cage – Pig
Benedict Cumberbatch – The Power of the Dog
Peter Dinklage – Cyrano
Andrew Garfield – Tick, Tick…Boom!
Will Smith – King Richard

BEST ACTRESS
Jessica Chastain – The Eyes of Tammy Faye
Emilia Jones – CODA
Nicole Kidman – Being the Ricardos
Thomasin McKenzie – Last Night in Soho
Kristen Stewart – Spencer

BEST SUPPORTING ACTOR
Jamie Dornan – Belfast
Ciaran Hinds – Belfast
Troy Kotsur – CODA
Jared Leto – House of Gucci
Kodhi Smit- McPhee – The Power of the Dog

BEST SUPPORTING ACTRESS
Caitriona Balfe – Belfast
Ariana DeBose – West Side Story
Kirsten Dunst – The Power of the Dog
Aunjanue Ellis – King Richard
Marlee Matlin – CODA

BEST ORIGINAL SCREENPLAY
Belfast
Don’t Look Up
King Richard
Last Night in Soho
Pig

BEST ADAPTED SCREENPLAY
CODA
Dune
Nightmare Alley
The Power of the Dog
The Tragedy of Macbeth

BEST ART DIRECTION
Belfast
Dune
The Green Knight
Nightmare Alley
The Power of the Dog

BEST COSTUME DESIGN
Dune
House of Gucci
Last Night in Soho
Nightmare Alley
West Side Story

BEST CINEMATOGRAPHY
Dune
Belfast
Last Night in Soho
Nightmare Alley
The Power of the Dog

BEST EDITING
Belfast
Dune
Last Night in Soho
The Power of the Dog
West Side Story

BEST ANIMATED FILM
Encanto
Luca
The Mitchells vs. The Machines
Raya and the Last Dragon
Sing 2

BEST DOCUMENTARY
9/11: Inside the President’s War Room
Billie Eilish: The World’s a Little Bunny
The First Wave
Summer of Soul
Val

BEST MAKE-UP
Cruella
Cyrano
Dune
The Eyes of Tammy Faye
House of Gucci

BEST SOUND
Dune
Last Night in Soho
A Quiet Place Part II
Shang-Chi and the Legend of the Ten Rings
Spider-Man: No Way Home

BEST ORIGINAL SCORE
Don’t Look Up
Dune
Encanto
The Harder They Fall
The Power of the Dog

BEST SONG
“Down to Joy” – Belfast
“Beyond the Shore” – CODA
“Just Look Up” – Don’t Look Up
“Be Alive” – King Richard
“No Time to Die” – No Time to Die

BEST VISUAL EFFECTS
Dune
Free Guy
No Time to Die
Shang-Chi and the Legend of the Ten Rings
Spider-Man: No Way Home

BEST STUNT WORK
Black Widow
Nobody
No Time to Die
​Shang-Chi and the Legend of the Ten Rings
Spider-Man: No Way Home

BEST NEW FILMMAKER
Maggie Gyllenhaal – The Lost Daughter
Rebecca Hall – Passing
Fran Kranz – Mass
Lin Manuel Miranda – Tick, Tick…Boom!
Michael Sarnoski – Pig

BEST FIRST FILM
Mass
The Novice
Passing
Pig
Tick, Tick…Boom!

BEST OVERLOOKED FILM
The Card Counter
CODA
Last Night in Soho
Malignant
The Night House

BEST VOCAL/MOTION CAPTURE PERFORMANCE: 
Olivia Colman – The Mitchells vs. The Machines
Thomas Hayden Church – Spider-Man: No Way Home
John Leguizamo – Encanto
Kelly Marie Tran – Raya and the Last Dragon
Danny McBride – The Mitchells vs. The Machines

BEST HORROR FILM
Antlers
Candyman
Last Night in Soho
Malignant
A Quiet Place Part II

BEST COMIC BOOK MOVIE
Black Widow
Shang-Chi and the Legend of the Ten Rings
Spider-Man: No Way Home
The Suicide Squad
Zack Snyder’s Justice League

BEST SCI-FI FILM
Dune
Free Guy
The Matrix Resurrections
A Quiet Place Part II
Reminiscence

BEST FOREIGN LANGUAGE FILM
Benedetta (France)
Drive My Car (Japan)
The Hand of God (Italy)
Lamb (Iceland)
The Worst Person in the World (Norway)

BEST HAWAIIAN FILM
Finding Ohana (Oahu)
I Was a Simple Man (dir. Christopher Makoto Yogi) (Oahu)
Ka Ho’i The Return (dir. Mitchel Viernes) (Oahu)
Waterman (dir. Isaac Halisima) (Oahu)
Our Makawao (dir. Robert Stone, Matt Yamashita) (Maui)

WORST FILM OF 2021
Coming 2 America
Don’t Breathe 2
The Matrix Resurrections
Space Jam: A New Legacy
Venom: Let There Be Carnage

Scene That I Love: David Bowie Performs For Christane F.


Today would have been David Bowie’s 75th birthday.  Though it’s been six years since David Bowie passed, he remains an iconic cultural force.  He is missed, as both a musician and an actor.

In honor of the man’s birthday and his legacy as a performer, today’s scene that I love is from the 1981 German film, Christiane F.  Directed by Uli Edel and based on a true story, Christiane F. is the story of a 13 year-old drug addict.  It’s a powerful film, though perhaps not one to watch if you’re dealing with any sort of severe depression.  David Bowie both composed the film’s soundtrack and appeared in the film himself.

Here, he performs Station to Station while Christiane F. watches.  The scene perfectly captures not only Christiane F.’s fascination with Bowie but also Bowie’s charisma as a performer.  The scene was shot an actual concert that David Bowie performed in Berlin, though the shots of Christiane F. and her friends watching were filmed separately.

6 Classic Trailers For January 8th, 2022


Since this week started with Sergio Leone’s birthday, it only seems appropriate that today’s edition of Lisa Marie’s Favorite Grindhouse Trailers should be dedicated to the Western.  Here are 6 classic Spaghetti western trailers!

  1. The Good, the Bad, and the Ugly (1966)

It only makes sense that we should start things off with a trailer from a Leone film and it makes further sense that film should be The Good, The Bad, and the Ugly.  It’s all here, from the classic Ennio Morricone score to the unforgettable staring contest between Clint Eastwood, Lee Van Cleef, and Eli Wallach.

2. Sabata (1969)

While Clint Eastwood was able to use his appearances in Leone’s westerns to restart his American film career, Lee Van Cleef remained in Italy.  After playing the villainous Angel Eyes, Van Cleef played the hero Sabata.  This trailer is very, very 60s.

3. Django (1966)

Franco Nero never appeared in a Sergio Leone film but he was a favorite of the famous “other Sergio,” Sergio Corbucci.  In Corbucci’s Django, Nero played the haunted title character, making his way across the west with a deadly coffin.

4. Django Kill (1967)

Django was such a hit that a number of other films were made about other haunted, amoral gunslingers named Django.  Whether or not they were all the same Django was left to the audience to decide.  In Django Kill, Tomas Milian played the title character and found himself in a surreal hellscape, surrounded by people who were obsessed with gold.

5. The Great Silence (1968)

The Great Silence was one of the greatest of the spaghetti westerns, featuring Klaus Kinski in one of his best and most villainous roles.  Unfortunately, like many of the better spaghetti westerns, it initially did not get a proper release in the States.  Fortunately, it has since been rediscovered.

6. Once Upon A Time In The West (1968)

And finally, to close things out, here’s one last Sergio Leone trailer.  Sadly underappreciated when first released, Once Upon A Time In The West has since come to be recognized as a masterpiece.

Music Video of the Day: A Fifth of Beethoven by Walter Murphy (1976, dir by ????)


Based on Beethoven’s Fifth Symphony, Walter Murphy’s A Fifth of Beethoven …. oh, wait a minute.  I just got that.  Fifth Symphony …. A Fifth of Beethoven.  That’s clever.  How would Beethoven have felt about a disco version of his symphony?  I imagine Beethoven would probably sue for royalties.  The music business is cutthroat.

Anyway, this song is best known for appearing on the Saturday Night Fever soundtrack.  When Tony Manero and his friends step into the club, this is the song that’s playing in the background and it fits in perfectly with Tony’s view of himself as being a God among men.

The song was composed by Walter Murphy, who had previously been a jazz musician.  He played all of the instruments himself on the original recording but the song was still credited to Walter Murphy and The Big Apple Band because it was apparently felt that it was better to be known as a member of a band than a solo artist.

This video is from 1976.  Is that the Big Apple Band that Murphy’s performing with?  I don’t know.  It’s a good song, though.  For the longest time, I thought it was also the theme music for Judge Judy but then I did some research at the University of Google and I discovered that Judge Judy’s theme song was actually the Fifth Symphony.  I also discovered that Judge Judy was still alive so it was a productive session.

Enjoy!

The Central Florida Critics Honors The Tragedy of Macbeth!


The Critics Association of Central Florida (CAFC) is a new group of critics.  Today, they announced their picks for the best of 2021 and it was a victory for a film that, so far, has been a bit quiet on the precursor front, Joel Coen’s The Tragedy of Macbeth.

Here are all the winners from Central Florida:

Best Picture
Winner: The Tragedy of Macbeth
Runner-up: Licorice Pizza

Best Director
Winner: Denis Villenueve – Dune
Runner-up: Joel Coen – The Tragedy of Macbeth

Best Actor
Winner: Andrew Garfield – tick, tick… BOOM!
Runner-up: Peter Dinklage – Cyrano

Best Actress
Winner: Renate Reinsve – The Worst Person in the World
Runner-up: Alana Haim – Licorice Pizza

Best Supporting Actor
Winner: Bradley Cooper – Licorice Pizza
Runner-up: Troy Kotsur – CODA

Best Supporting Actress
Winners (tie): Ann Dowd – Mass/Aunjanue Ellis – King Richard
Runner-up: Ariana DeBose – West Side Story

Best Cast
Winner: Dune
Runner-up: Mass

Best Documentary
Winner: Flee
Runner-up: Summer of Soul (… or, When the Revolution Could Not Be Televised)

Best International Film
Winner: A Hero
Runner-up: Drive My Car

Best Animated Film
Winner: The Mitchells vs. the Machines
Runners-up (tie): Flee/Luca

Best Screenplay
Winner: Fran Kranz – Mass
Runner-up: Aaron Sorkin – Being the Ricardos

Best Cinematography
Winner: Greig Fraser – Dune
Runner-up: Bruno Delbonnel – The Tragedy of Macbeth

Best Score
Winner: Hans Zimmer – Dune
Runner-up: Johnny Greenwood – Spencer

Best Original Song
Winner: “No Time to Die” – No Time to Die
Runner-up: “Be Alive”- King Richard

Best Central Florida FIlm
Winner: King Richard

Best Achievement in Diversity
Winner: Eternals

Book Review: The War For Late Night by Bill Carter


Remember when Conan O’Brien was the host of The Tonight Show?

It occurred back in 2009, back when the Shattered Lens was just starting out.  After hosting the show for 17 years, Jay Leno stepped down as host of The Tonight Show.  Though he was never popular with critics and I don’t think I’ve ever met anyone who actually made it a point to watch him, The Tonight Show with Jay Leno was the number one in the late night ratings.  David Letterman may have had more cultural cachet but Jay Leno was the host that most late night viewers were watching.  Other comedians may have mocked Leno for his safe and non-controversial hosting but, obviously, it worked.

When Leno first left The Tonight Show, no one was surprised by Leno’s retirement because he had announced it five years earlier.  In 2004, NBC renewed Leno’s contract as host with the condition that Leno would step down in 2009 and that Conan O’Brien would become the new host of the Tonight Show.  The fear was that, otherwise, Conan would switch to another network and compete directly against Leno.  At the time, Leno privately complained that he felt he was being fired but, publicly, he announced that he was happy to hand the show over to Conan in 2009.  In words that would come back to haunt him, Leno announced, “It’s yours, buddy!”

In 2009, Conan took over last night while Jay Leno got his own primetime talk show, which aired every weeknight.  It was an odd arrangement, one that was undertaken to keep Leno from going to another network.  (NBC was apparently very paranoid about its talent hopping to to other networks.)  Not only did NBC have to rearrange its schedule to make room for 5 days of Leno but many observers suspected that the whole thing was essentially some Machiavellian network scheme to eventually once again make Leno host of The Tonight Show while destroying Conan’s viability as a potential competitor.  Regardless of why NBC did what they did, it didn’t work out.  Leno’s primetime ratings quickly tanked.  So did that ratings for The Tonight Show with Conan O’Brien.  O’Brien’s supporters said that Conan’s bad ratings were due to Jay being a bad lead-in.  Jay’s supporters said that Conan just wasn’t ready for the 11:30 slot and that Conan’s ratings had been going down for a while.  And while most television critics sided with Conan, NBC obviously sided with Jay, who had always been viewed as being a good and loyal company man.

NBC’s solution to the problem made about as much sense as any of their other actions.  It was announced that Jay would have a new late night show, a thirty-minute variety show that would air before The Tonight Show.  The Tonight Show would be bumped back by half-an-hour.  O’Brien objected to getting stuck with a later start time but it turned out that his contract gave NBC the right to move the show back by 30 minutes.  O’Brien resigned, writing an open letter to “the people of Earth,” in which he said that he would not take part in the “destruction” of The Tonight Show.  Depending on which side you were on, Conan was either being heroic or overdramatic.

How big was this story?  It was so big that even I knew about it, despite the fact that I didn’t watch any of the late night shows.  It was one of the first big cultural conflicts that I can remember blowing up on Twitter.  Twitter was almost 100% pro-Conan.  Meanwhile, Leno’s supporters tended to be older, they tended to not have much use for social media, and they tended to be a bit more pragmatic.  Jerry Seinfeld sided with Jay, saying that the only problem was that Conan wasn’t getting the ratings.  Jimmy Kimmel very publicly sided with Conan.  David Letterman let everyone know that they were now seeing the Jay Leno that he had always known.

It was a mess and no one came out of it untouched.  Leno returned to hosting The Tonight Show but his reputation with now irreversibly tarnished.  Conan moved to TBS and, while the critics respected him and his fans continued to love him, he never quite regained the cultural prominence that he had before The Tonight Show debacle.  Most of all, NBC came out of it looking worse than ever.  The entire reason for Jay’s early retirement announcement was to avoid conflict and controversy.  Needless to say, that didn’t work out.

Looking over it all, one can’t help but wonder how a group of industry professionals, people with television experience who were paid to know what they were doing, could have so dramatically screwed everything up.

Bill Carter’s The War For Late Night is probably the best place to look for the answer.  Published in 2010, mere months after Leno replaced Conan as the host of The Tonight Show, The War For Late Night provides an insider’s look at what went down in the corporate offices of NBC as well as what was happening in both the O’Brien and the Leno camps.  Carter also examines what was going on with the other late night hosts while O’Brien and Leno was battling for the future of Late Night.  The book deals with the unsuccessful attempt to blackmail Letterman (remember that?) and also provides an interesting reminder of how likable Jimmy Kimmel was before he got all self-important.

Though Carter appears to be Team Coco, the book itself is relatively even-handed.  Leno is not portrayed a monster and Conan is not transformed into a saint.  (Indeed, the books makes clear that the real villains were the NBC executives, who first screwed Leno by forcing him out when he was at the top of the ratings and then screwed Conan by refusing to give his version of The Tonight Show time to grow.)  Instead, the book suggests that the main reason for the conflict between the two hosts was that Leno and Conan had two very differing ways of looking at their job as host of The Tonight Show.  Jay viewed it as a job.  Conan viewed it as almost a holy calling.  In the end, Jay was incapable of understanding why Conan was so upset about what was happening while Conan couldn’t understand how anyone couldn’t be upset.  After reading Carter’s book, it seems like a foregone conclusion that NBC would side with Jay.  Management always prefers an employee who doesn’t make waves compared to one who does.

Towards the end of the book, when David Letterman tries to arrange for Conan to appear in a Super Bowl commercial with him and Jay, Conan snaps that Letterman doesn’t understand how upset Conan still is over what happened.  Conan says that he will never be ready to laugh about it and, having read The War For Late Night, you don’t doubt it.  The book succeeds at both explaining what happened and also revealing the human beings behind the conflict.  In the end, even if you understand Jay’s position, your heart breaks for Conan.

Cleaning Out The DVR: An American Dream (dir by Robert Gist)


Loosely based on a novel by Norman Mailer, the 1966 film, An American Dream, tells the story of Stephen Rojack (Stuart Whitman).  Rojack’s a war hero, a man who has several medals of valor to his credit.  He’s married to Deborah (Eleanor Parker), the daughter of one of the richest men in the country.  He’s an acclaimed writer.  He’s got his own television talk show in New York.  He’s been crusading against not only the Mafia but also against corruption in the police department.  He has powerful friends and powerful enemies.  You get the idea.

He’s also got a marriage that’s on the verge of collapse.  Deborah calls Rojack’s show and taunts him while he’s on the air.  When Rojack goes to her apartment to demand a divorce, the two of them get into an argument.  Deborah tells him that he’s not a hero.  She says he only married her for the money and that she only married him for the prestige.  She tells him that he’s a lousy lover.  Being a character in an adaptation of a Norman Mailer novel, the “lousy lay” crack causes Rojack to snap.  He attacks Deborah.  The two of them fight.  Deborah stumbles out to the balcony of her apartment and it appears that she’s on the verge of jumping.  Rojack follows her.  At first, he tries to save her but then he lets her fall.  She crashes down to the street, where she’s promptly run over by several cars.  The cars then all run into each other while Rojack stands on the balcony and wails.  There’s nothing subtle about the first 15 minutes of An American Dream.

Actually, there’s nothing subtle about any minute of An American Dream.  It’s a film where everything, from the acting to the melodrama, is so over-the-top and portentous that it actually gets a bit boring.  There’s no relief from the screeching and the inauthentic hard-boiled dialogue.  When a crazed Rojack starts to laugh uncontrollably, he doesn’t just laugh.  Instead, he laughs and laughs and laughs and laughs and laughs and …. well, let’s just say it goes on for a bit.  It’s like a 60s version of one of those terrible Family Guy jokes.

Anyway, the police don’t believe that Deborah committed suicide but they also can’t prove that Rojack killed her.  Meanwhile, within hours of his wife’s death, Rojack meets his ex-girlfriend, a singer named Cherry (Janet Leigh).  Rojack is still in love with Cherry but Cherry is also connected to the same mobsters who want to kill Rojack.  Meanwhile, Deborah’s superrich father (Lloyd Nolan) is also on his way to New York City, looking for answer of his own.

An American Dream is a very familiar type of mid-60s film.  It’s a trashy story and it’s obvious that the director was trying to be as risqué as the competition in Europe while also trying to not offend mainstream American audiences.  As such, the film has hints of nudity but not too much nudity.  There’s some profanity but not too much profanity.  Rojack, Deborah, and Cherry may curse more than Mary Poppins but they’re rank amateurs compared to the cast of Who’s Afraid of Virginia Woolf?  It’s an unabashedly melodramatic film but it doesn’t seem to be sure just how far it can go in embracing the melodrama with alienating its target audience so, as a result, the entire film feels somewhat off.  Some scenes go on forever.  Some scenes feel too short.  The whole thing has the washed-out look of an old cop show.

All of that perhaps wouldn’t matter if Stephen Rojack was a compelling character.  In theory, Rojack should have been compelling but, because he’s played by the reliably boring Stuart Whitman, Rojack instead just comes across as being a bit of a dullard.  He’s supposed to be a charismatic, two-fisted Norman Mailer-type but instead, as played by Whitman, Rojack comes across like an accountant who is looking forward to retirement but only if he can balance the books one last time.  There’s no spark of madness or imagination to be found in Whitman’s performance and, as a result, the viewer never really cares about Rojack or his problems.

Noman Mailer reportedly never saw An American Dream, saying that it would be too painful to a bad version of his favorite novel.  In this case, Mailer made the right decision.

4 Shots From 4 Films: In Tribute To Sidney Poitier


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Earlier, today, it was announced that Sidney Poitier had passed away at the age of 94.

Poitier was, of course, the first black actor to win the Oscar for Best Actor.  He won that award for 1962’s Lillies of the Field.  He would go on to star in the Oscar-winning In The Heat of the Night, where he delivered the famous line, “They call me Mr. Tibbs!”  Poitier was one of the first black actors to be acknowledged as a movie star.  In the 70s and the 80s, he chafed at the limited selection of roles that he was being offered in mainstream productions and he started to produce and direct his own films.  He also served as a diplomat, serving as the Bahamian ambassador to both Japan and UNESCO.

In honor of Poitier’s life and legacy, here are….

4 Shots From 4 Sidney Poitier Films

A Raisin in the Sun (1961, dir by Daniel Petrie, DP: Charles Lawton Jr.)

Paris Blues (1961, dir by Martin Ritt, DP: Christian Matras)

In The Heat of the Night (1967, dir by Norman Jewison, DP: Haskell Wexler)

Brother John (1971, dir by James Goldstone, DP: Gerald Perry Finnerman)