4 Shots From 4 Films: Lisa Loves To Dance Edition


4 Shots From 4 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 is all about letting the visuals do the talking.

Oh my God, it’s my birthday!  True, this is the day of the year when I get presents and hear from a lot of wonderful people.  That’s the wonderful part of the day!  The only downside is that this is also the day of the year when I’m reminded that I’m an adult.  But fear not, I know how to chase off any birthday angst.  These 4 shots come from 4 films that always cheer me up.

(And, if you know me, you won’ be surprised by what they all have in common!)

4 Shots From 4 Films

Silk Stocking (1957, dir by Rouben Mamoulian)

Silk Stocking (1957, dir by Rouben Mamoulian)

Save the Last Dance (2001, dir by Thomas Carter)

Save the Last Dance (2001, dir by Thomas Carter)

The Company (2003, dir by Robert Altman)

The Company (2003, dir by Robert Altman)

StreetDance 3D (dir by Max Giwa and Dania Pasquini)

StreetDance 3D (dir by Max Giwa and Dania Pasquini)

4 Shots From 4 Films: Special Philip Marlowe Edition


The Long Goodbye (1973, dir by Robert Altman, DP: Vilmos Zsigmond)

4 Shots From 4 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 is all about letting the visuals do the talking.

Today is the anniversary of the birth of Raymond Chandler.  That means that it’s time for….

4 Shots From 4 Philip Marlowe Films

Murder, My Sweet (1944, dir by Edward Dmytryk, DP: Harry J. Wild)

The Big Sleep (1946, dir by Howard Hawks, DP: Sidney Hickox)

The Long Goodbye (1973, dir by Robert Altman, DP: Vilmos Zsgimond)

The Big Sleep (1978, dir by Michael Winner, DP: Robert Payner)

Hero of the Day: Haven Hamilton (Nashville)


A lot of people might not automatically think of Haven Hamilton as being one of the heroes of Robert Altman’s 1975 masterpiece, Nashville.  In fact, one could argue that there really aren’t any true heroes to be found in Nashville.  No one in the film lives a perfect life.  Everyone has their selfish moments.  Even an otherwise sympathetic character like Lily Tomlin’s Linnea Reese still cheats on her husband.  That said, I would argue that, at the end of the film, Haven Hamilton proves himself to be a far better person than anyone was expecting.

Played by Henry Gibson, Haven Hamilton is first seen recording a patriotic song about “how we must be doing something right” to last 200 years.  He’s one of the elder statesmen of Nashville, an obviously vain man who is instantly identifiable due to his white suits and his sideburns.  He’s a figure who represents what the majority of the film’s viewers would consider to be the past.  He sings about and sells a vision of an idealized life.  He sings a song about how he can’t leave his wife because he loves his children too much.  Meanwhile, in reality, he’s carrying on an open affair with Lady Pearl (Barbara Baxley) and barely seems to acknowledge his loyal son, Bud (Dave Peel).  Bud has a nice singing voice but Haven has made it clear that the Hamilton family only has room for one singer.  Instead, Haven sent his son to Harvard and then put him in charge of his business affairs.  It’s easy to dismissive of Haven.  He’s vain.  He’s old-fashioned.  He looks down on the younger talent that’s coming into Nashville.  He’s a celebrity but he’s only a Nashville celebrity.  An awkward scene in which he meets Elliott Gould and Julie Christie (both playing themselves) captures the contrast between Nashville and Hollywood.

And yet, at the film’s conclusion, when the gunshots ring out and Barbara Jean (Ronee Blakely) collapses on stage, Haven is the one who tries to shield her.  Even after he takes a bullet to the arm, Haven is the one who shouts that “This isn’t Dallas, it’s Nashville!”  Haven Hamilton is the one who cries out for someone to sing and, when Albuquerque (Baraba Harris) does so, it unites the panicked crowd and prevents a riot.  While everyone was too stunned to act, Haven Hamilton took charge and he said exactly the right thing.  After spending the film being viewed as an out-of-touch blowhard, Haven Hamilton is the one who risked his life in an unsuccessful attempt to save Barbara Jean.  And, in the end, Haven is the one character who truly understands the power of music to bring people together.  “This isn’t Dallas!” Haven shouts, a demand that his city, his kingdom, will not give into the madness that seems to be afflicting the rest of the country.  At that moment, the viewer sees that, regardless of what the film may want us to think about the character, Haven Hamilton was right.  We must be doing something right to have lasted 200 (or 250) years.

And, for that reason, Haven Hamilton — for all of his flaws — is today’s Hero of the Day.

Hero of the Day

4 Shots From 4 Films: Special 1993 Edition


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!

Today, we pay tribute to the year 1993 with….

4 Shots From 4 1993 Films

Mi Vida Loca (1993, dir by Allison Anders, DP: Rodrigo Garcia)

Short Cuts (1993, dir by Robert Altman, DP: Walt Lloyd)

Sliver (1993, dir by Phillip Noyce, DP: Vilmos Zsigmond)

The Last Action Hero (1993, directed by John McTiernan, DP: Dean Semler)

Scenes I Love: Julie Christie Visits Nashville


In this scene from Robert Altman’s 1975 masterpiece, Nashville, Julie Christie plays herself as a famous visitor to the city for which the film is named.  She is introduced to Haven Hamilton (Henry Gibson), Haven’s lawyer, Delbert Reese (Ned Beatty), political advance man John Triplette (Michael Murphy), and country music star Connie White (Karen Black).  Julie Christie may be a star in Hollywood but Connie is the star of Nashville.

Karen Black improvised her dismissive line about Julie Christine not even being able to comb her hair.  It was a moment that reportedly shocked the rest of the cast and the crew but it was also a line that perfectly summed up both Connie as a character and Altman’s version of Nashville.

Song of the Day: I’m Easy by Keith Carradine


Since today would have been Robert Altman’s 101st birthday, it only seems right that today’s song of the day should come from his best film.  In this scene from 1975’s Nashville, Keith Carradine sings I’m Easy as Altman’s camera finds each of his lovers in the audience, all convinced that Carradine is singing expressly to them.

This song won Nashville it’s only Oscar.  It also made Keith, who wrote the song, the only Oscar winner amongst the fabled Carradine family.

 

4 Shots From 4 Films: Special Robert Altman Edition


4 Shots From 4 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!

Today, we celebrate what would have been the 101st birthday of the great director, Robert Altman!  It’s time for….

4 Shots From 4 Robert Altman Films

MASH (1970, dir by Robert Altman, DP: Harold E. Stine)

The Long Goodbye (1973, dir by Robert Altman, DP: Vilmos Zsigmond)

Nashville (1975, dir by Robert Altman, DP: Paul Lohmann)

Short Cuts (1993, dir by Robert Altman, DP: Walt Lloyd)

A Late Tribute To Bud Cort


Bud Cort died on February 11th, at the age of 77.  He was a beloved character actor, one who had a real skill for bringing eccentric characters to life.  He became a star briefly with films like Brewster McCloud and especially Harold and Maude but Hollywood never really knew what to do with him.  After he was nearly killed in a car accident in 1979, his momentum stalled.  Smart directors still cast him because he always gave good performances but he spent most of his career in small roles.  (In Heat, he was the obnoxious restaurant manager who drove Dennis Haysbert back into a life of crime.)

When Cort died, most of the stories focused on his performance in Harold and Maude.  That was understandable.  That said, I’ve always been touched by Cort’s performance in 1970’s MASH and I wanted to take a moment to just express how wonderful I thought he was in the role of Private Boone.

Though he had previously appeared in two earlier films, Cort got an “introducing” credit for his role in MASH.  He played Boone, a usually quiet corpsman who speaks with a slight stutter.  When a patient in Post-Op develops complications, Major Frank Burns (Robert Duvall) tells Boone to get a cardiac needle.  Boone obviously isn’t sure what Burns needs but Burns snaps at him to get it.  When Boone comes back with a needle, the patient has already died.  Burns calls Boone an idiot for getting the wrong needle.  Burns offers to get a nurse.  “It’s too late, Boone,” Burns says, motioning at the dead man, “you killed him.”  Burns walks away as Boone, a look of shock on his face, tries not to cry.

And I have to admit that I want to cry with him.  It’s one of the more shocking scenes in Altman’s film and it works because of not only Robert Duvall’s memorably nasty turn as Burns but also Bud Cort’s emotional vulnerability of Boone.  Boone, who is in Korea because he was drafted, has not only seen a man die but he’s been told that he’s responsible.  With just the slightly cocking of his head and the sniffling of a young man who doesn’t want to cry on duty, Bud Cort shows us just how devastated Boone is.

And, of course, Boone was not responsible.  Trapper John (Elliott Gould) takes one look at the patient’s chart and sees that it was Burns’s own incompetence that is to blame.  When Trapper punches out Burns, it’s a cathartic moment.  The only thing you regret is that Boone wasn’t in the room to see it.

That was Bud Cort’s big moment in MASH, though he appears throughout the film.  Indeed, if you watch carefully, there’s a subplot in which Boone starts dating one of the nurses and eventually becomes much more confident in himself.  We don’t know much about Boone but we do see that he’s become a member of the gang.  Unlike Burns or David Arkin’s Sgt. Vollmer, Boone is accepted by the inhabitants of the Swamp.

He even gets to attend the mock suicide of Painless..  Reportedly, Boone’s line of “You’re throwing away your whole education,” was improvised on the spot by Bud Cort.

Ah, Bud Cort.  Rest in peace, you wonderful actor.

4 Shots From 4 Films: Special Philip Marlowe Edition


The Long Goodbye (1973, dir by Robert Altman, DP: Vilmos Zsigmond)

4 Shots From 4 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 is all about letting the visuals do the talking.

Today is the anniversary of the birth of Raymond Chandler.  That means that it’s time for….

4 Shots From 4 Philip Marlowe Films

Murder, My Sweet (1944, dir by Edward Dmytryk, DP: Harry J. Wild)

The Big Sleep (1946, dir by Howard Hawks, DP: Sidney Hickox)

The Long Goodbye (1973, dir by Robert Altman, DP: Vilmos Zsgimond)

The Big Sleep (1978, dir by Michael Winner, DP: Robert Payner)

4 Shots From 4 Films: Special Vilmos Zsigmod Edition


4 Shots From 4 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!

Today, we pay tribute to the legendary cinematographer, Vilmos Zsigmond.  Born 90 years ago today in Hungary, Zsigmond got his start in the 60s with low-budget films like The Sadist but he went on to become one of the most in-demand cinematographers around.  In fact, of all the people who started their career working on a film that starred Arch Hall, Jr.,  it’s hard to think of any who went on to have the type of success that Zsigmond did.

Zsigmond won one Oscar, for his work on Close Encounters of Third Kind.  He was nominated for three more.  He also received a BAFTA award for his work on The Deer Hunter and was nominated for an Emmy for his work on Stalin.  He’s considered to be one of the most influential cinematographers of all time.

In honor of the legacy of Vilmos Zsigmond, here are….

4 Shots From 4 Films

Deliverance (1972, directed by John Boorman, DP: Vilmos Zsigmond)

The Long Goodbye (1973, dir by Robert Altman, DP: Vilmos Zsigmond)

Close Encounters of the Third Kind (1977, dir by Steven Spielberg, DP: Vilmos Zsigmond)

Heaven’s Gate (1980, directed by Michael Cimino, DP: Vilmos Zsigmond)