Movie Watching in Quarantine

As a writer, I stay home and write. That’s the nature of the process, but when I put my photographer’s hat on I am outside. Again, that’s the nature of the process. Covid-19 has put my photography on hold. Sure, I can do indoor photography, but my taste has usually run toward the outdoors.
These days, I’m spending more time inside than out. My writing is at its best in the early hours. Subsequently, to pass the time I read, and I have been watching movies, movies and more movies.
I have been posting on Facebook a few thoughts on most and decided to share a few here.

Cape Fear

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Cape Fear one of the great thrillers from the early 60s. Robert Mitchum’s revenge-seeking crazed Max Cady is one of cinema’s great psychopaths. What makes his performance so effectively terrifying is his laid back style. He’s a relentless, vengeful, monster that would put fear in anyone’s heart. The film is a twisted tale that will keep your nails short due to all the biting you will do while sitting on the edge of your seat. Bernard Herrmann’s score is one of his best as is Mitchum’s off-kilter, heavy-lidded, sexually charged, nasty performance.

Carrie

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Brian DePalma’s Carrie is best remembered for the film’s prom night climax: the bucket filled with pig blood dropping on Carrie, the split-screen, the bursting flames of fire, and the deadly revenge filled bloodshed as the highlights in this film. True, it’s one of the most shocking of screen massacres and all-time great sequences in horror. But complementing thasequence is the sequence that comes prior to it. The tense filled scenes beginning with the collection of prom queen ballots to the tracking shot of the bucket’s cord and the fated spilling of blood onto Carrie’s hair and body. That sequence creates a slow, but tense, nail-biting buildup to the final destruction

Three Days Of the Condor

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Paranoia Strikes Deep as Buffalo Springfield once sang. Three Days of the Condor strikes deep into the heart of the CIA. Robert Redford reads books for the agency looking for ideas, plans, secret codes that may be Thembedded. He is not a field agent. So when there is a mass slaughter of his co-workers (with the hits occurring while he is literally out to lunch). Redford calls his superior and wants to be brought in from the cold. One little problem. He finds himself a target not only from the assassins but the Agency itself. Condor is one of the great paranoid thrillers of the day. Sydney Pollack was an efficient filmmaker whose crisp, no nonsense style moves the film along at a sharp pace. There are no fancy shots, and he manages to clearly explain what is sometimes a convoluted tale. Even in quiet, simple scenes like the elevator ride where Redford slowly comes to the realization that Max Van Sydow, his co-rider on the elevator is the enemy Pollack can build up suspense. I did find the love affair that ensues between Redford and Faye Dunaway lacking believability but this is a film I like watching over and over.

The Professionals

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Recently watched Richard Brooks’ classic western, The Professionals, a film that contains one of the great closing lines in cinema. Ralph Bellamy’s arrogant and lying Texas millionaire calls Lee Marvin, one of four men he hired to bring his alleged kidnapped wife back, a bastard. Marvin’s character responds “Yes sir. In my case an accident of birth. But you, you’re a self-made man.”

Recent Read: Why To Kill a Mockingbird Matters

MockFew novels have proven to be as important and influential as To Kill a Mockingbird, and few films have become just as important as its source material. Tom Santopietro (The Godfather Effect, Sinatra in Hollywood, Becoming Doris Day) is one of the finest pop culture writers working today. In his new book, the author take a deep dive look at the cultural impact of both Harper Lee’s Pulitzer Prize winning book, published in 1960, and the now iconic film released in 1962. Over its more than 50 years existence, To Kill a Mockingbird has been both praised and banned. Criticized and hailed by both liberals and conservatives.

Santopietro paints a detailed look beginning with Harper Lee’s childhood in the tiny town of Monroeville, Alabama, the inspiration for Maycomb, the fictional town in Lee’s classic. It ends with the publication of Go Tell the Watchman, Lee’s original and extremely different first draft. In between, we get well known and little known details such as Spencer Tracy was originally considered for the role of Atticus Finch. We all know Gregory Peck landed the part in what would turn out to be the role of a lifetime. Who else can be Atticus Finch!

Almost sixty years after its publication, To Kill A Mockingbird remains one of the most read and influential books in America, required reading in many high schools. As relevant today as it was back in the 1960’s. It asks some,hard questions. Can a country that has fought to make the world safe from tyranny and fascism somehow save itself and live up to its potential as a democracy where there is justice and freedom for all. Today, we are failing. As the author  points out, substitute Muslims and Mexicans, along with other South Americans attempting to enter the country, for blacks and you have to asked yourself how much has really changed?

With over 40 million books in print, everyone whether liberal or conservative wants to have an Atticus Finch in his or her life.