Gone With the Wind (1939)

Let’s face it.  We live in an era where the mainstream is something to be feared, and to like the blockbuster is to admit to being the very same “non-person” we all fear becoming.  It’s important to look smart and cultured, and so we can’t admit to anything that makes us look too sheltered or nationalistic.  We embrace uniqueness or obscurity because it makes us feel like modern day Columbuses…no, strike that.  Columbus is too politically incorrect.  Continue reading

The 101 Greatest Film Scores

Lists, and not baseball, have become America’s favorite pastime, and for fifteen years now, I have been passing as much time as anybody I know.   Continue reading

Mr. Smith Goes to Washington (1939)

After the bombing of Pearl Harbor in 1941 and the subsequent entry into World War II by the United States of America, James Maitland Stewart joined the US Air Corps.  Before the war, Stewart was a talented pilot in the private sector, amassing hundreds of hours of flight time and even participating in a cross-country race as a co-pilot.  He had invested (and recruited more investments) in a pilot-training program hosted by Southwest Airways.  He was an immensely popular actor on the home-front, starring in such films as The Philadelphia Story with Katharine Hepburn and You Can’t Take it With You with Jean Arthur.  He was well-publicized, well-known, and was an interesting character, who loved flying, loved his country, and respected his family’s military tradition. Continue reading

Peter O’Toole (1932-2013)

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The “last of the hard-drinking hellraisers” is dead, as was written December 14 by The Telegraph writer Robbie Collin.  Richard Burton, Richard Harris, Oliver Reed and others defined a generation of British actors hailing from Wales, Ireland, Scotland and England with their mix of imposing acting dexterity and their hell-raising personal lives.  Besides Richard Harris—perhaps—the most significant of these British hell-raisers was Peter O’Toole.  His significance was not born merely of his controversial life off the stage and away from the screen, but because he, above all others, was the greatest on that stage, and on that screen.  No actor in history has matched his volatility as a character actor, nor have they ever been able to meet him in his potent monologues.  There was something about his diction, a perfect blend of Irishman and Shakespearean reciter, that complimented his intensity of gaze, his angular expressions, and his physical simplicity.  His roles were a true masks of self, yet, somehow, reflections of that bombastic and flamboyant personality were found in each one of those roles.  For O’Toole, his own self was an integral part of every character he portrayed.  Perhaps this is best shown in own appraisal of his performance in Lord Jim—a role many considered a failure: “I was so wrong for the picture,” he said. “When I play reflective types, I tend to reflect myself right off the screen.” Continue reading