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Go back to the 1991 film <i>The Dark Wind</i>, starring Lou Diamond Phillips. It's a much more faithful adaptation of the novel & really deserves to be better known. The filmmakers did their best to respect the original story & present it as accurately as possible.
Well, both Jack Bruce & Ginger Baker were jazz & blues musicians first, and then rock musicians, so it wouldn't be surprising if they were familiar with "Rondo" & George Shearing.
Sounds like Wolf was blitzed.
1969 was a very different time, and that part of the film is very true to that time. People in general were much more open to picking up strangers. There was a far more trusting zeitgeist. As a young man back then, I [picked up hitchhikers & hitchhiked myself without a worry. Wouldn't do it today, though. Times have changed for the worse.
And finding oneself through sexuality was much more acceptable back then, as well.
My pleasure!
Divorce wasn't so easy then, especially due to social pressures. And Jerry would almost certainly have lost custody of Tina to his wife, which was the last thing he wanted. Even more importantly, Jerry had a code of honor, an ideal of how a man in his position should act, and he just wasn't going to toss that away lightly. To some it might seem unrealistic by present standards, but that was his basic character, and it made him all the more appealing to Charlotte.
Because she's young & thoughtless, not realizing how much she's been hurting Charlotte. When Charlotte returns as more than a match for her, June starts to grow up a little. Remember, June has grown up in a family where Charlotte was always considered a misfit, someone to be pitied at best, joked about & dismissed at worst. June just followed along. But by the end of the movie, it's fair to assume that she's learned something, not just about Charlotte, but about herself.
Excellent choice.
I think the average Joe in 1959 would have been very quick to pick up on the sexual symbolism, as it was part of filmmaking during the Hays Code, and much of the fun was seeing how directors got around that code with cleverness, wit & style.
I don't find it silly at all.
How sad to be unable to step outside of your obviously very narrow comfort zone & enjoy quality film from an era of many quality films. <i>North by Northwest</i> is brilliant for any time.
2001 wasn't adapted from a book. Clarke worked on his novel while working with Kubrick on the film; their development ran parallel to each other. Kubrick took the shared material where he wanted in the film, and Clarke took it where he wanted in the novel.
He's been an acclaimed actor since the 1940s & had appeared in any number of classic films prior to his role in Star Wars. He could play any sort of role, from drama to comedy, from hero to quirky to villain. He's one of those actors all other actors admire & respect.
It was & it remains a lyrical, melancholy, lovely little film that has a lot to say & does so in a tender, sometimes comical way. And the ending is one of the most beautiful & moving endings I've ever seen in movies. But all a matter of personal taste, of course.
The script is now in print:
https://www.fritjofcapra.net/mindwalk-the-screenplay/
She is meant to be an embodiment of a particular sort of evil, the person who convinces themself that they're doing the right thing, rather than admit to their hunger for power & control.
Different from Pacino, Hoffman, and Nicholson. But not inferior. Quieter, more reflective, which doesn't light up the screen the way those other performances do, but stays with the viewer for a longtime afterwards.
In the 1990s, when singer Cindy Wilson took some time off from the band for personal business, Julee Cruise replaced her on tour. I saw that iteration of the band with the Pretenders at the time—great show from both bands! Julee more than held her own, too.
Well, he was 80 when he made it, so thoughts of mortality & what may or may not come afterward could well have been on his mind. And from an artistic point of view, he deliberately chose to go with something we wouldn't normally associate with his work, perhaps to keep himself creatively fresh & experimenting as a filmmaker.
I just watched this for a second time last night and I was struck by its quietly understated, reflective tone. There's no preaching in it, just observation & an acknowledgment of the mystery of life & death. No answers, just some thoughtful questions. I like that very much.