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Moments out of Time 1972

[Originally published in Movietone News 20, January 1973]

Le Boucher: a flock of chickens pecking among the leaves in foreground; beyond, frenzied activity at the police station, and we know another grisly murder has come to punctuate, but curiously not to disturb, life in this small French village…

Albert Finney in Gumshoe
Albert Finney in Gumshoe

• Albert Finney’s exquisite gumshoe patter with the unseen Fat Man at the Plaza Hotel, down to and including a perfectly Bogartian “Sure!”—Gumshoe

• A long, single-take stroll down the main street of S1. Joseph, Mo., 1863: ”It is a sunny day”—Bad Company

• A duel of banjos, Deliverance

• Measuring penis lengths in Murmur of the Heart, and Benoît Ferreux’s breathless appreciation of his older brother’s endowment: “Splendide!”…

• Rusk’s visit to Brenda Blaney’s marriage and friendship bureau, Frenzy: from the moment she greets him as Mr. Robinson, we know; only after a tangled rape, as he sighs and with sublime weariness removes the stick-pin from his tie, does she know…

• Henry’s first joint, in Travels with My Aunt: in a perfectly played single take of several moments’ duration, Alec McCowen turns on completely unawares (“1 say, I’ve never smoked an American cigarette!”) and syllable by syllable sloughs several decades of British bank-clerkhood as he giggles on the Orient Express with an American abroad…

• Moving a cemetery, Deliverance

Le Boucher: a casual walk through town, with a Franco-Prussian War memorial passing between the camera and our protagonists, as Stéphane Audran’s schoolchildren swing on the chains round the monument and a local drives by with a load of freshly pruned boughs on his cart: death as the political and the natural order of things…

• Billie Whitelaw coming home in a raincoat, silhouetted in the dim hall as a late-night piano ruminates over “These Foolish Things Remind Me of You”, Gumshoe: she sizes up Finney poised over the keyboard in a well-placed cloud of cigarette smoke and then shuts off the phonograph….

• AI Lettieri, quintessential crude, bedridden, a black kitten on his bare chest, fondling blond bimbo Sally Struthers while her veterinarian-husband, bound and gagged, looks on The Getaway

Hannie Caulder: the thorough ineptitude of three bandit brothers played by Ernest Borgnine, Strother Martin, and Jack Elam…

• The extraordinary delicacy of Peter Finch, Sunday Bloody Sunday

• The handsome emptiness of Joe Dallesandro’s face as he sexually uses and is used, Heatthe reality of the “nothingness” which Play It As It Lays skirts with such blasé gentility…

• The raid on the Dutchman’s farm; his hysterical gratitude to God for deliverance; the bloody aftermath—Ulzana’s Raid

• In The Last Picture Show, Sonny (Timothy Bottoms) watching Elizabeth Taylor on the Royal screen, in Father of the Bride, and thinking of her while kissing Charlene Duggs…

• Brando’s grotesque bumbling with ursine clumsiness and growling as he plays with his grandson in the garden, The Godfather: his sudden death agony appears to the child as just another variation of the game…

• The rough-and-tumble of an embryonic baseball game—Sennett-like yet convincingly inadvertent—climaxed by Cole Younger’s (Cliff Robertson) shooting the hide off the ball: The Great Northfield, Minnesota Raid

• John Wayne and Slim Pickens sagging over a bar, The Cowboys

• The last three shots of The Other—frustrating as hell if one had been watching the wrong movie, but brilliantly right for the one Mulligan made…

• Jean Yanne peering through the window of the classroom as Stéphane Audran reads to her class about someone who emits “an air of grandeur … and profound feeling, such as to impress the coarsest of minds”: she unknowingly describes herself and her attraction for Popaul (Yanne), so like one of the children, to whom she must remain “Mademoiselle Hélène”—Le Boucher

• Sam the Lion (Ben Johnson) at the tank, The Last Picture Show: “You wouldn’t believe how this country’s changed”…

• Junior and Ace at the railway station—Junior Bonner

• The reconstitution of Casablanca at the end of Play It Again, Sam, especially Bogart’s appreciative “Here’s looking at you, kid!” for ace-nebbish Woody Allen…

• The perfect honesty and discretion with which Ed (Jon Voight) acknowledges, “I have some…” after Lewis (Burt Reynolds) has been mocking the idea of buying insurance—Deliverance

• All of Glenda Jackson’s unbilled cameo as The Star in The Boy Friend, especially her gully-washing tear flow as she simultaneously watches Twiggy displace her from her role and, trouper good and true, indulges in the professional sentimentality that enjoys seeing the kid get a break…

• Adam Wainwright’s (E. Kerrigan Prescott) hilarious striptease in the empty burlesque theatre, Roseland, the bumps and grinds saved from homosexual parody by the “new Adam’s” infectious delight and spontaneity…

• “Say, how’d that Jane Eyre turn out?” “Fine. Just fine.” Bad Company

• Rod Steiger’s fingers dancing an inverted fandango as his Mexican bandit searches for the word “destiny”—Duck, You Sucker

• In Play It Again, Sam, the manic depressiveness of Allen Felix (Woody Allen), who doesn’t bother to cook his TV dinners, just sucks them while they’re still frozen: “Did my wife never have an orgasm during our whole marriage, or was she faking that night?”…

• The moment when Le Boucher, inadvertently opening the schoolteacher’s cupboard and finding the lighter he left at the site of one of his murders, looks at us with fatal resignation…

• The beautifully detailed responses of Ed and Bobby (Jon Voight, Ned Beatty) to the taunting, unsatisfiable mountain men who just materialize out of the wilderness along the Cahulawassee—Deliverance

• A combined country-western dance and saloon brawl in Junior Bonner, in which everyone makes new friends: Sam Peckinpah’s version of the Life Force?…

• The superb ending of Heat: the movie star rushes in Swanson-like frenzy to trap her callous lover by the swimming pool, pulls her Sunset Blvd. rod—and it refuses to fire….

• The gradual disclosure of Nazi identity in “Tomorrow Belongs to Me” in Cabaret: a setup, but a valid one…

• The epilogue to Macbeth: the forgotten brother, Donalbain, comes back and, sheltering along the witches’ wall, is attracted by their smoke; as he disappears into the hovel, a jug swinging from a branch in mid-screen caps a whole motif set in motion by Duncan’s crown rolling wildly on the floor during the murder: a stylistic prophecy beyond film’s end, a circle never to be closed as long as there are junior executives who dream of being Number One…

Le Boucher: being questioned by a police inspector called in from the city, Mlle. Hélène can’t help being distracted by the verbally unremarked blaze of silver in the man’s otherwise black head of hair: an ineffably weird index to the idiosyncrasies of Claude Chabrol’s film-world…

• A giddy gunfight among autumn-stripped trees, between two frightened teenagers and a bandit gang whom their leader has tried to protect from their intended victims (“If it was a blind woman in a wheelchair I’d give her the odds”): in a state of shock, the boys gradually realize they’re winning!—Bad Company

• The exultant sense of the high shot that zooms up and away from Eddie Ginley (Finney) as, having stalled the most intimate and crippling problems of his life in one automobile, he turns away from them, his own man—Gumshoe

• One of many devastating moral rebukes to the audience in Frenzy: after the innocent Richard Blaney (Jon Finch) has brought an auto jack down on the blond head under the bedclothes, with us thinking simultaneously “Don’t do it! You’ve been cleared of the other crimes!” and “Go ahead, give him what he has coming!”, he and we discover that the now-dented skull belongs not to the murderer Rusk but to yet another, already-strangled victim—and again the mind boggles, torn between relief and horror…

-In The King of Marvin Gardens, Ellen Burstyn burying her makeup and lotions in the cold sand of Atlantic City, symbolically celebrating her party’s anticipated departure for a tropic Pacific isle where health and wealth abound: her companions leave her, her giddy gaiety turns to shock and fear, and, retrieving a pair of scissors from the beach, she begins to mutilate her hair, flicking the tufts toward the fire before her—and not noticing they are carried away by the wind as soon as they leave her fingers…

The Last Picture Show: Sam the Lion looking into the boys more deeply than they know before watching them head out for Mexico…

• Huey and Dewey beating the overconfident Bruce Dern at poker with deadpan computer canniness—Silent Running

• Scatman Crothers jiving Diana Ross about what a superstud trick he’s going to be while shucking down to faded pink longjohns—as Ross quietly departs: Lady Sings the Blues

• When mother and son love each other so naturally that one involuntarily accepts this as the finest kind of sexual initiation for a boy coming into manhood, Murmur of the Heart; the beauty of the act momentarily returning one to prelapsarian innocence of any taboo…

• Sonny sitting on the curb watching Anarene’s one traffic light change, after learning of the death of Sam the Lion–The Last Picture Show

• A runaway cart hits a rock, four naked people soar through the air in a sitting position, and the top blows off a mountain: Duck, You Sucker

Bad Company: Big Joe (David Huddleston) shows the posse the gun trick he taught Curly Bill Brocius: “Boys—I’m the oldest whore on the block!”…

• The death of John Wayne, The Cowboys

Junior Bonner: a crazy song about rodeo-riding and getting thrown, with no lyrics, just Sam Peckinpah’s brawny sense of slapstick imagery and infallibly timed cutting, and a buzzer that goes BRRRRRRT!!…

• Attacked while escorting a woman and her son through Indian territory, a veteran Army trooper (Dean Swift) immediately rides away, but turns back at the woman’s frantic screams to shoot her between the eyes as she sighs a prayer of thanks for what she mistakes for rescue; a moment later, his horse shot from under him, he puts the same pistol in his own mouth and fires–death on Robert Aldrich’s frontier, Ulzana’s Raid

• The horses descending the brothel staircase in Romance of a Horsethief: the whores, led by Lainie Kazan, frantically attempt to distract drunken Cossack Yul Brynner’s attention from Eli Wallach’s latest refinement in horse-stealing…

Gumshoe: Finney’s third-person tough-guy recitation of imitation Hammett at Billie Whitelaw as he waits for his train to pull away, he still not fully aware that his favorite fictional fantasies are becoming reality, that the lady herself is suffering the sea-change his imaginative bid for sanity and survival is imposing on his world: “The pitch was, would the lady stick around?” and as the train pulls out, she recedes from him in a palpably Romantic movement…

• A promontory overlooking the river and farmlands of the Trémolat-Périgord region; schoolchildren on an outing; Stéphane Audran’s blonde head in the sun: and on one little girl’s biscuit, a splash of bright red blood appears as from the cloudless sky—Le Boucher

• The final scene in Sunday Bloody Sunday: Dr. David Hirsch (Peter Finch) in unexpected consultation with the audience in a shot that begins very un-subjectively and ends: “I only came about my cough”…

• Two of the Younger gang, naked to the waist to show their bullet-riddled torsos, stood on end in their coffins while townspeople gawk and take photographs—The Great Northfield, Minnesota Raid

• Frames within frames within frames: The Boy Friend: onstage the understudy (Twiggy) who loves the leading man (Christopher Gable) sees him flirting offstage with another girl in the cast; shortly thereafter she breaks down in mid-scene and flees crying, leaving the pros to make repair—Children of Paradise it may not be, but it’ll do very nicely, thanks…

• The old capo‘s fine sense of dignity as he inquires whether Duvall can intervene in his execution, and his quiet acceptance of the inevitably negative reply—The Godfather

• Tuesday Weld cradling Tony Perkins, crooning her mother’s lullaby—”Baby, just remember … you belong to me”—while he suicides with seconal: one of the few scenes to sit still long enough to develop any viewer intensity, in Play It As It Lays

• Sophie Brzeska standing beside a great unsculpted block of stone, Savage Messiah, mute testament to the dead artist Gaudier-Brzeska whom we last see caught in photographed stasis holding a carved rifle butt…

• Woody Allen casually gestures with a hand holding a phonograph album and slings the record across the room—the climax of a veritable crescendo of gaucherie and awkwardness upon meeting his blind date (Jennifer Salt), Play It Again, Sam

• Ali MacGraw and Steve McQueen trapped in an inexorably filling garbage truck; moments later, re-pledging what is left of their troth in the skeleton of a car in the dump: a concentration of Peckinpah’s vision of America and its outlaws, The Getaway

• The dancing duel between Tommy Tune and the black-haired girl in The Boy Friend

• Oliver Tobias’ and Eli Wallach’s literal horseplay as Wallach begs his friend to tell what he did in the fields with that countess—Romance of a Horsethief

• Peter Vaughan’s comic museum guard—a welcome respite from the preciosity of Ken Russell’s Savage Messiah

The Honkers: late-night confidences over a kitchen table: the neglected wife (Lois Nettleton) and the wayward husband’s friend and partner, a tired old rodeo clown who will die tomorrow (Slim Pickens)—a nice scene from a nice directorial debut by the late Steve Ihnat…

• The destruction-by-shotgun of a police car, The Getaway

• Robert Redford’s perfect shit-eating grin as, buttonholed in a rest room by an abusive taxpayer, he has to take it: there’s a political campaign underway in The Candidate

• Skinning a rabbit, Bad Company

• A cowhand (Matt Clark), apparently doomed to draw on a man he knows can kill him and will (Geoffrey Lewis), simply turns his back and says “Shiiiiit… ” with tears in his voice—one of several shrewd variations on convention that take us into the peculiar reality of The Culpepper Cattle Company

• The joy of battle for Alan Breck Stuart in Kidnapped: one more vividly dangerous performance out of Michael Caine…

• Afternoon in a bar, and the light that flared coldly in whenever the door opened: Fat City

• The rape in Frenzy: Brenda’s prayer filled with sexual imagery that subsequently turns up all over London (“I shall not fear the arrow by night…”); this in rhythmic counterpoint to Rusk’s groaning repetition of “Lovely … Lovely … Lovely”…

• In Le Boucher, the butcher appearing in costume as Louis XIV, cigarette in his mouth, to rehearse with the schoolchildren for the village pageant: we are focused on the back of Mlle. Hélène’s neck, and she suddenly turns, aware that Popaul has been worshipping that very part of her with his eyes: one of the tenderest, most intimate moments in the cinema…

• Big Joe’s philosophical tolerance of Jake Rumsey (Jeff Bridges) for pointing a gun at him: while he fills his pipe, he passes Jake some friendly advice on why you shouldn’t hesitate to shoot in circumstances like that, then draws his own piece and shoots Jake’s away—Bad Company

• George C. Scott’s hilarious–and beautifully built and delivered—”Power to the impotent!” speech in Hospital

• The decency of Edgar Derby (Eugene Roche) in SlaughterhouseFive

• Robert Duvall’s unflappable business cool in The Godfather: he receives with equanimity the verbal abuse of a Hollywood producer but momentarily crumbles as he must report the death of Sonny to Don Corleone…

• Some smoky Scandinavian brick standing in for turn-of-the-century New York, and the American prairie as itself—Joe Hill

Bad Company: the sudden death of Boog, whom Jake once warned not to be so quick in reaching for pies…

• Every encounter between the slimly determined self-protectiveness of Stéphane Audran and the beefy vulnerability of Jean Yanne in Le Boucher—but especially when he turns his knife against himself in an exact visual summing-up of the complex dangers and metamorphoses of love in that exquisitely calm and tortured film…

• The lesbian roommate at Andrea Feldman looking on incuriously as the blond manchild from the other apartment surveys her body with doglike appreciation and intently masturbates—Heat

• The moment when Dr. Gene Wilder stops indulging the Armenian shepherd’s tale of his love for Daisy the sheep and begins to share his fascination—Everything You Always Wanted to Know about Sex but Were Afraid to Ask

• The guerrilla assault on a Paris supermarket, Tout va bien

• For a half moment, all the sounds in an all-night cafe and bowling alley stop: the shape of things to come for breaking-down pug Stacy Keach, Fat City

• The old girlfriend visits Eddie’s apartment at midnight as he prepares for bed: she mounts a fine attack on his habit of calling her every time he needs help, during which he brushes his teeth, then gargles and spits in the bowl—the character’s helpless amusement despite her best intentions of staying mad seems inseparable from Billie Whitelaw’s delight in how Finney has stolen her thunder: yet another moment of multileveled beauty from Gumshoe

• The last picture show in The Last Picture Show: Duane (Jeff Bridges) opining that the movie, Red River, was a pretty good show, and Sonny (Timothy Bottoms) offhandedly replying, “I seen it here before”…

• Jack Elam’s emergence from the barbershop, hair glued to one of the ugliest skulls in cinematic history, his one good eye a-gleam with delight in his grotesque sartorial splendor—Hannie Caulder

• The hour of the wolf. The preternatural blackness of a distant shoreline marked by trees. The lake surface sheening away from our eyes. A dead man’s hand rises from it like a primordial·memory: the great penultimate shot of Deliverance, so full of the spirit lacking in the rest of this adaptation of James Dickey’s novel…

• Diana Ross’ simultaneously jittery and sleepy-eyed rendering of Billie Holiday’s blues in Lady Sings the Blues

• Woody Allen as the court jester frantically trying to get into the royal box: he tells the impassioned but chastity-locked queen, “We have to hurry because soon it’ll be the Renaissance and we’ll all be painting!”—Everything You Always Wanted to Know about Sex

Gumshoe: Eddie Ginley takes his cup of tea and cigarette, puts a Fifties-style disc on the record player, and starts learning to live without the family….

RTJ & KAM

© 1973 Richard T. Jameson and Kathleen Murphy

Moments out of Time 1990

[Originally published in Film Comment Volume 27 Number 1, January/February 1991, reprinted by permission]

• The hat in the forest, Miller’s Crossing

GoodFellas: The sheer, abstract, utterly genuine terror of the warehouse at the end of the block, where Jimmy Conway (Robert De Niro) wants Karen (Lorraine Bracco) to stop in and pick out a dress…

Landscape in the Mist: A snowfall magicks a whole town, every inhabitant transfixed, eyes turned skyward….

• Fourth of July fireworks in a puddle: the auspicious opening of Avalon

• Shorn by the German plane shot down by the Memphis Belle, the front half of the bomber full of new kids just breaks off and falls….

• More horrifying than the brute violence that precedes it, the victim-executioner bonhomie between Lilly (Anjelica Huston) and her mobster boss (Pat Hingle) in The Grifters: “That suit makes you look taller, Bobo.”…

• Stella Wynkowski (Elizabeth Perkins) slapping Harry Dobbs (Tom Berenger) in Love at Large, then turning face-front toward the bar: Harry rubs his cheek and registers dryly, “That’s the first time we’ve touched”…

• “Let go. Let go. LET GO. Let go.” Longtime Companion

• Was it we-hit-the-Italians-if-Frankie-doesn’t-call, or if-he-does? A crisis of professionalism for Gary Oldman and fellow Westies, in State of Grace

• Altman’s camera, in Vincent & Theo, careening deliriously about a vast field of sunflowers—an artist’s eye trying to find a way to catch and compose the sprawling largesse of reality…

• Gremlin become gargoyle—Gremlins 2

Postcards from the Edge: As Dennis Quaid concludes his romantic pitch to Meryl Streep, the “little white house with rose-covered trellis” that has subliminally backed his wooing is trucked away to another part of the studio lot….

• Christopher Walken registering the presence of the camera as he stands in the shower, King of New York

The Krays: Billie Whitelaw serving biscuits and tea to her monstrous sons and their bully boys-just another batch of male children to put up with and coddle…

• New cop Jamie Lee Curtis hitching up her trousers before sitting down—Blue Steel

• Dan Hedaya finding 37 ways to read the line “I’m not arguing that with you!”—Joe vs. the Volcano

• David Watkin’s masterly lighting of the Ghost (Paul Scofield) in Hamlet, so that the figure seems to wrap the world in the grayness of the grave, without recourse to SPFX…

Reversal of Fortune: The practiced way Claus von Bülow (Jeremy Irons) maneuvers Alan Dershowitz (Ron Silver) out of his Upper East Side apartment once his conviction has been overturned: when the spotlight of von Bülow’s focused charm switches off, Dershowitz ceases to exist….

Presumed Innocent: Greta Scacchi kisses off Harrison Ford in mid-conversation when he can’t measure up to her ruthless expectations; like a man who remains standing moments after he’s been shot, he doesn’t even know he’s dead .. ”

• The bemused gallantry of Hector Elizondo’s hotel manager in Pretty Woman

• What you might see if someone shoved you up through a manhole cover on a busy street: Darkman

Mo’ Better Blues: the band ragging Giancarlo Esposito about his Frenchwoman…

• Projector beam from terra-cotta lion’s mouth, Cinema Paradiso

• Anaïs (Maria de Medeiros) discovers Henry (Fred Ward) in a movie theater watching Ecstasy, and touches his shoulder. He turns, his face wet with tears, blank with passion—Henry & June….

• Waiting for John Wilson (Clint Eastwood) to call “Action!”—White Hunter, Black Heart

Dances with Wolves: John Dunbar (Kevin Costner) wakes out of a sound sleep to find everything in his sod house shaking, as a great buffalo herd moves through the night like thunder, like ghosts…

Awakenings: De Niro ambushed by waves of uncontrollable tics and twitches as he tries to talk with the girl he has a crush on; a 40-year-old man caught in an adolescent’s worst nightmare…

• The father (Hugues Quester), making seduction chat with his daughter’s friend (Anne Teyssèdre), finds he can’t snap the piece of kindling as casually as he’d like, and stuffs it into the fireplace—A Tale of Springtime….

• A permanently suspended ellipsis, I Love You to Death: Keanu Reeves’s “You know, having sex with a kangaroo… ”

• Middle-of-the-night supper with Mom (Catherine Scorsese) as, in the driveway outside, someone/-thing thumps in the car trunk—GoodFellas

• The sound from the bathtub as Henry (Michael Rooker) renders Otis (Tom Towles) for disposal—Henry: Portrait of a Serial Killer

• Having put a bullet into his quarry at point-blank range, Nick Nolte climbs up the steps from the cellar entrance of the social club and, swinging his back to the low-slung camera, lifts his police badge to quell the floodtide of revelers pouring forth from every door—Q&A….

• The way Alec Baldwin lets Junior’s mouth fall open, during moments of repose, in Miami Blues—like that of an animal panting in the shade, or Marilyn Monroe thinking…

• The way Samantha Mathis smiles at Christian Slater in the library, Pump Up the Volume: she can’t believe the delicious inappropriateness of this nerd as the rebel voice of her nighttime dreams….

• The momentary reflection of light in a predator’s eye, as Myra (Annette Bening) waits in the dark outside Lilly’s motel—The Grifters

• The roadside accident, Wild at Heart

Miller’s Crossing: The Dane (J.E. Freeman), advancing across the room to menace Verna (Marcia Gay Harden), leans sideways to avoid bumping an overhead light….

• Harvey Keitel’s last moments in The Two Jakes

• Debra Winger, her flesh glowing beneath her half-opened blue robe, queries her husband cryptically: “Isn’t it time for you to rub my tummy?”—The Sheltering Sky

• Magician-pickpocket transmutes purloined wallet into white dove—Henry & June

• The zoned-out glamour of Anne Archer in Love at Large

• The white, shocked face of Tom Reagan (Gabriel Byrne) as The Dane drives him deeper into the woods; a cold wind creaking the trees—the precise sound of death to an Irishman: Miller’s Crossing

• The cat licking the salt of the dead mother’s tears, May Fools

• Frankie (Ed Harris), in mid-conference with the capo, shamefacedly brushing away the crumbs from his roll—State of Grace

• The teen daughter watching as, in the shattered mirror, her mother and father lock in terminal conjugal combat—C’est la vie

Alice (Mia Farrow), under the influence of a mystic-East potion, flirting with the attractive father (Joe Mantegna) in the hall of her kids’ school…

• Family portrait through a window, Blue Steel: father’s arm around wife as they regard their daughter and her new beau. What’s really framed are permutations of power and impotence, threat and appeasement, men and women merging and at war….

Monsieur Hire (Michel Blanc) freeing his white mice along the railroad tracks…

Mountains of the Moon—Fiona Lewis and lain Glen meeting for the first time outside the chambers where the man they both love is being discredited as an explorer: the robustly beautiful New Woman takes in and dismisses her rival, a dying breed of brave, tainted British manhood….

• A new William Buckley for the talkshow circuit, Gremlins 2

• Steve Martin and Rick Moranis’s dance in My Blue Heaven

Vincent & Theo: Van Gogh (Tim Roth) has been mechanically sketching the Dutch prostitute; his interest quickens only when she takes a break from posing, and absentmindedly squats atop a chamber pot to pee….

• A little girl growing old in a painting, The Witches

• The grave, delicate sensuousness of Kate Capshaw as a rancher’s wife, Love at Large

• The tunnel through the hill, Akira Kurosawa’s Dreams

The Grifters: Lilly’s animal, half-sexual grief as she howls and humps over the corpse she loved…

The Sheltering Sky: Debra Winger’s terrible, toneless cry after she and John Malkovich have fruitlessly tried to anchor in each other on “the sharp edge of the world”…

• The documentary footage in Awakenings: patient (Robert De Niro) pulling doctor (Robin Williams) into the frame with him, to shake his hand and press human connection upon him…

• Henry Miller, a voyeur on a snowy Brooklyn fire escape, gets a window slammed on his necktie by his wife’s lesbian lover—Henry & June (no wonder he later loves Un Chien andalou!)…

Landscape in the Mist: A girl and a boy in futile embrace in the middle of an empty highway that spans a sea of darkness…

• “Excuse me, you think I’m funny?” Joe Pesci as Tommy De Vito in GoodFellas

Miller’s Crossing: the camera traveling along the throat of the gramophone, pulling back to frame the golden bell of the speaker as the eloquence of Frank Patterson’s “Danny Boy” and the Coen brothers’ cinematic ecstasy simultaneously crest…

RTJ/KAM

[reprinted by permission of Film Comment]

Moments out of Time 1979

[Originally published in Movietone News 64-65, March 1980]

The Tree of Wooden Clogs: Interloping in the landowner’s courtyard, the young swain is frightened off into the night by the landowner himself, mysteriously banished from the musical soiree in his own parlor. In the barns, animals stir. A coachman waiting to drive his wealthy employers home steps to a tree to relieve himself. In midstream he glances up: snow has begun to fall. In the peasants’ quarters an old man slips out of bed to go spread chicken droppings on his private garden; the droppings will keep warm the earth, and in the spring he will have the first tomatoes. The mysterious, miraculous rhythms of life as discovered by Ermanno Olmi…

10: Stopped at a red light, and at a crucial intersection in his 42-year-old life, George Webber (Dudley Moore) glances left to behold a vision in a frame—a bride (Bo Derek) on the way to her wedding—and becomes locked in comic, erotic, and quite magnificent obsession…

Saint Jack
Saint Jack

• Riding a pushcart through the Singapore night, proper auditor William (Denholm Elliott) says to his companion, in abashed delight: “I say, Jack, you’re a ponce, aren’t you?”—Saint Jack

• The talismans of married life dropped with absolute finality on a hall table: Joanna (Meryl Streep) is leaving and Ted (Dustin Hoffman) is refusing to get the picture—Kramer vs. Kramer

• The alternate beginnings to Ike Davis’s—and Woody Allen’s—epic of Manhattan; especially the night shot of the El crawling past the lighted stadium…

Picnic at Hanging Rock: Miranda (Anne Lambert) opens the gate to the picnic area, startles a flock of birds, and turns her head to follow their wheeling flight as the images overlap one another: the beginning of a ballet of mystery for Peter Weir’s camera; layers of style as milestones of a hedonistic pilgrimage…

• The beach fire beyond Frank’s car as he (Gerald Kennedy) and Amy (Wendy Hughes) edge toward another uneasy couplingNewsfront

• Laurie (Jamie Lee Curtis) absently singing a love song about “the two of us” as she strides away on the smalltown sidewalk: “The Shape” eases his dark shoulder into right foreground, and an eerie betrothal is madeHalloween

Keep Reading

Moments out of Time 1971

[Originally published in Movietone News 10, January 1972]

Recalled by Richard T. Jameson and Kathleen Murphy

The Conformist

• Every moment Dominique Sanda’s feline beauty appears in The Conformist or, more specifically: Dominique Sanda’s Sternbergian entrance under a bare, harsh, deifying light bulb; Dominique Sanda’s hands-in-pockets slouch down the hallway, a cigarette dangling from her lips; Dominique Sanda stripping down the top of her sweat suit and advancing on Trintignant…

• Dustin Hoffman and Susan George chewing gum at each other in Straw Dogs

• McCabe’s drunken monologue of his love for Mrs. Miller: “She won’t be sweet without money… ”

• Jane Fonda taking over a bar, infiltrating the space of one male after another, during a single lengthy telephoto take in Klute

• The frumpy wife’s aphrodisiac dance in Taking Off, followed in time by Lynn Carlin’s reenactment in the hotel room, with a load on…

• Jack Nicholson, in Carnal Knowledge, asked by Ann-Margret whether it wouldn’t be all right for her to shack up with him, thinking the matter over with desperate self-possession, even though he’s perched nude on the edge of a leather chair, interrupted on his course to the shower…

• The last shot of The Devils, the end of the world…

Medea: Callas’ strangely aware eyes, wide open as Jason makes love to her, as though she foresees his desertion even then; she closes them quite consciously as if to shut out that vision for the moment….

• Susan George’s child-woman sexiness in Straw Dogs, so consummately good it takes a second look to realize what a superb performance hers is (the same applies to the film)…

• Forty or fifty people reading international newspapers, modeling clothes, and having a last elegant holiday in the hotel lobby, Death in Venice

Dirty Harry: that high-overhead shot of Callahan grinding his foot into Scorpio’s wounded leg in the middle of a football stadium (makes you wonder if those critics busy calling this film “Fascist” think football is too)…

• Jack Palance’s memory of a golden summer when he was one of The Horsemen

• The instant when Buck Henry, singing drunk and nude, standing in the center of the poker table, meets ,the eyes of his runaway daughter—Taking Off

• Ryan O’Neal sitting against the wall of a cantina, his own blood filling his hands, the certain knowledge that his and William Holden’s spree has come irreparably to grief in his eyes, muttering “God damn. God damn!”—The Wild Rovers

• The trees creaking in the wind: the murder in The Conformist

• That quiet little slip in The Go-Between which unobtrusively indexes the boy’s personal irrelevance to Julie Christie and foreshadows his-whole future: Christie’s tenderly bandaged his knee—cut by her lover’s axe—and after he’s recounted every item of information about the lover, she turns and says, “Now, let’s see to that knee.”….

• Dustin Hoffman’s oddly breaking voice as he screams “Bas-tuurds! Bas-tuurds!” over and over after the shooting of the Major—the turning-point from sanity to madness, passivity to resolution, tentativeness to wholeness in Straw Dogs

• The irises-in on moments of potentiality in The Wild Child, infinitely tender and as awesomely large as the whole art and history of motion pictures…

• Old Lodge Skins’ indifference to the fact that he has not died at the end of Little Big Man. Arthur Penn’s variation on the ending of the novel, and his film’s sole excuse for existence…

• “Ode to a Screw” in Taking Off

• A chicken trying to hatch a Volkswagen throughout Intimate Lighting

• A termite mound in The Hellstrom Chronicle looking eerily like the monolith in 2001: one of those most effective moments in the film when the director cunningly used a science-fiction echo to render his pseudo-documentary more chillingly familiar to viewers…

McCabe and Mrs. Miller: McCabe’s first sight of Butler, the company killer, recounting a story to the boys at Sheehan’s place; Butler gives McCabe a cursory glance, says “I’ll be with you in a minute,” and goes on with his story…

• Buck Henry performing his anti-smoking exercise in the park and attracting a Black Power salute from a passing brother—Taking Off; the best-timed gag of the year…

• A rainy morning, a little before dawn, in a small Texas town—Two-Lane Blacktop

• Another long telephoto take, this one of Donald Sutherland and his friends running along the beach in Alex in Wonderland confessing their most recent masturbation; in the course of their giggling, klutzy jog, they regress about twenty years in age…

• Howard Cosell bringing you the Presidential assassination in San Marco, before the credits of Woody Allen’s Bananas

• The moment when Jean-Louis Trintignant lifts his hat from the hotel bed and reveals Stefania Sandrelli’s tush under it—The Conformist

• The shelter in the rain, Claire’s Knee

• Mike Snell cracking up in Derby when the national anthem unexpectedly fails to play properly: one of the most complex and illuminating moments of truth upon truth upon truth in that singular film… –

• The lovers’ departure in Chikamatzu Monogatari: they have been framed by a static shot, the dark masses of buildings around them as they make their final deliberations; they set off down the street, the camera advances after them, and a whole stable black shape at the lefthand and top of the frame suddenly winks away: a fantastic realization of cosmic shift , by a master of mise-en-scène…

• Also, the literally breathtaking crane of the camera out over the brink of the hillside as the lovers pursue one another down its side; the movement is carried through in the next shot as the camera ducks down and in under the lean-to where the pursued lover attempts to hide….

• The cinema’s second-most-astonishing use of Also sprach Zarathustra: the apparition of the world’s most grossly wrinkled bum outside the flophouse at the beginning of Dynamite Chicken

• In the midst of John Ford’s Monument Valley, Joe Don Baker shielding the eyes of the last of The Wild Rovers from the sun by holding his hat over the man’s face: a direct homage on Blake Edwards’ part to Ford’s 3 Godfathers, when John Wayne did the same for Harry Carey Jr….

• William Holden reminiscing out loud about his friendship with Ryan O’Neal, The Wild Rovers, apparently conducting a normal conversation by a campfire until he says, “Man-just-don’t-know-shit!” and covers his dead friend’s face…

• Woody Allen attempting to be unobtrusive about buying a sex magazine—Bananas

• The opening shot of The Horsemen: the camera plane circles over Afghanistan, taking in hundreds of miles as it pivots on a single trumpeter poised on the mountainside…

The Beguiled: the little girl’s smile as she helps bury Clint Eastwood whom she has killed with poisoned mushrooms: she’s been initiated into sisterhood…

• Jane Fonda’s cosmopolitan performance for the old businessman in Klute

Let’s Scare Jessica to Death: the white plump flesh of the redheaded vampire-girl as she rises dripping out of the lake…

The Night of the Living Dead: the little girl’s hunger-driven face as she approaches her mother to hack her to death…

• Hermie buying the rubbers—and also an unwanted strawberry cone with sprinkles—in Summer of ’42

• Popeye Doyle screaming straight into New York City traffic, knowing he has to get that frog on the elevated above him, and to hell with the rest of the world: Gene Hackman’s furious, exasperated, why-won’t-you-people-learn pounding on the steering wheel nails down the whole chase in The French Connection and maybe the entire film—which is one ferocious chase all the way to the last enigmatic gunshot….

• The last moments of This Man Must Die, in which our revenge killer suddenly and absolutely convincingly metamorphoses into a doomed hero of tragic myth…

• An après-chase lull in Taking Off when Buck Henry and the mother of the runaway girl he spotted wordlessly consider having an affair; he gets a phone call and it’s all over…

• The dancehall sequence in The Conformist that feels like one serpentine camera movement but isn’t really: especially the first disclosure of Manganiello’s presence at the table diagonally opposite, and Trintignant’s getting simultaneously embraced and bound by the conga line…

• That incredible opening shot in Dirty Harry when the camera zooms back from a yellow-suited girl in a glittering blue rooftop swimming pool, to show her and all of San Francisco under Scorpio’s gun; also the whole city seeming to turn on Clint Eastwood’s shoulders as he climbs up there a couple screen moments later…

• Robert Mitchum watching his son make out in Going Home: a whole class of American male is indexed in that throwaway moment effortlessly, unpretentiously, and succinctly….

• McCabe discovered at the beginning of McCabe and Mrs. Miller by a lazy panning movement that picks him out of the rainy grey-green blur of Northwest fir trees and establishes him as the man to realize this one place and this one moment in time…

• Gene Hackman and Fernando Rey’s I-don’t-know-whether-1’ll-take-this-subway-or-not act in The French Connection

• The look on Buck Henry’s face-sheer naked childish disillusionment-when he hears that his daughter’s hirsute boyfriend made $290,000 last year: in Taking Off

• John Moulder Brown frantically trying to know what’s going on in there after Jane Asher and Karl Michael Vogler disappear into the bath chamber in Deep End

• The gamut of expressions on Rip Torn’s face, in the middle of the night and of Coming Apart as Sally Kirkland does something to his posterior…

RTJ & KAM

© 1972 Richard T. Jameson and Kathleen Murphy

New Yorker Essentials – DVDs for the Week

As the shock of New Yorker’s announcement sinks in, so does the complicated legacy of New Yorker. In conversations with friends and colleagues who programmed college campus films series and commercial repertory calendars (back when such things were a vital part of a metropolitan city cinema landscape), we all recalled the high prices of New Yorker film rentals and the deplorable condition of much of its print library. In my days as a video store manager, I sweated the premium prices of New Yorker videotapes, titles that would be lucky to break even, and they dragged their feet when it came to price reductions (many of which I wound up reviewing for Amazon.com during the early days of its home video launch). As a viewer I was often frustrated by the image interference caused by the heavy Macrovision copy protection. When it came to DVD, the quality was always fine, but never showed the crispness of Criterion restorations and digital mastering.

New Yorker Films' first release
New Yorker Films’ first release

Yet for all those gripes, New Yorker was essential to the richness of cinema culture in my time. It kept alive the canons of Bertolucci, Fassbinder, Godard, Herzog, but in addition to its commitment to the European canon, it brought to light filmmakers from neglected corners of the cinematic culture, in particular Africa, South America and Iran. Would the films of Ousmane Sembene be accessible to American audiences if not for New Yorker? Would the films of South America’s Cinema Novo movement have been “discovered” with them?

Just contrast New Yorker with Miramax. Back in their Miramax days, the Weinstein Bros. showed cagey instincts when it came to sifting through imports for that sexy title that they could sell with their own inimitable mix of art cinema ballyhoo and cultural cache. They outbid everyone else to secure those films in which they saw potential and sunk money into striking good prints with strong, readable subtitles, and into promoting their films. And at times they brought in the scissors to trim down their imports. They combined the arrogance of an old-time studio boss with the promotional savvy of a William Castle or a Kroger Babb, only with a touch of class.

New Yorker never had those promotional instincts and certainly never had the capital to compete with Miramax and the boutique divisions of the major studios that flowered in the wake of Miramax’s success. But then it never occurred to Dan Talbot and the New Yorker crew to edit down the films they imported. Miramax made foreign filmgoing special. New Yorker was about special foreign films and filmmakers. It was, in many ways, up to the audiences to find them.

Most of those studio indie/art film divisions have since been shut down or absorbed back into their parent companies, and the Weinsteins are still looking for a signature acquisition to re-establish themselves outside of Miramax (which is doing just fine in its more modest, post-Weinstein incarnation). On the home video side, we’ve seen  specialty labels like Tartan Films and NoShame close up and others struggle to continue.

Keep Reading

The last list of Lists for 2008 – The Year in Cinema

The reading of the Oscar nominations marks the unofficial (and long overdue) end to the season of Top Ten lists and year-in-review pieces and various awards bestowed by every group who wants to add their stamp to the passports of Oscar hopefuls. So as a postscript, I gather a few lists and remarks from Parallax View contributors and friends, along with those published by Seattle top critics, as a snapshot of the way see 2008.

Sean Axmaker

A Christmas Tale
A Christmas Tale

1. A Christmas Tale (France) (dir: Arnaud Desplechin)
2. The Edge Of Heaven (Germany) (dir: Fatih Akin)
3. WALL•E (dir: Andrew Stanton)
4. Let The Right One In (Sweden) (dir: Tomas Alfredson)
5. Wendy And Lucy (dir: Kelly Reichardt)
6. The Fall (dir: Tarsem Singh)
7. The Dark Knight (dir: Christopher Nolan)
8. The Class (France) (dir: Laurent Cantet)
9. The Secret Of The Grain (France) dir: Abdellatif Kechiche
10. My Blueberry Nights (dir: Wong Kar Wai)

I also saw six films at various film festivals that could easily have made the list, were they eligible under most Top Ten guidelines (i.e.: a theatrical release). Some of them have been set for a 2009 release, a couple still await distribution.

Four Nights With Anna (Poland/France) dir: Jerzy Skowlimowski
The Hurt Locker dir: Kathryn Bigelow
L’heure d’ete (Summer Hours) (France) dir/scr: Olivier Assayas
Of Time And The City dir/scr: Terence Davies
Still Walking (Japan) dir/scr: Hirozaku Kore-Eda
Ain’t Scared (France) dir/scr: Audrey Estrougo

Robert Cumbow

(in lieu of a list, Mr. Cumbow put together his Observations, Reflections, and Ruminations from 2008 for Parallax View here)

Jim Emerson

(Ten Best Favorite Movies, from his Scanners blog) Click on the link for the video experience.

1. In Bruges (comedy, gangster; on DVD)
2. The Edge of Heaven (multi-narrative drama; on DVD)
3. A Christmas Tale (comedy, family)
4. Pineapple Express (comedy, stoner/bromantic, crime, action, Ninja; on DVD/Blu-ray)
5. Wendy and Lucy (heartbreaker)
6. Let the Right One In (comedy, tweener love story, horror)
7. Still Life (comedy, romantic/industrial; on DVD)
8. Chop Shop (docudrama; on DVD)
9. Shotgun Stories (Southern Gothic; on DVD)
10. The Fall (comedy, Western/Eastern fantasy adventure; on DVD/Blu-ray)
11. Che (instructional documentary, with re-enactments)

John Hartl

The Edge of Heaven
The Edge of Heaven

(more or less in order)

The Edge of Heaven
Man on Wire
WALL•E
Waltz With Bashir
The Pool
Milk
Taxi to the Dark Side
Boy A
Frozen River
and the most interesting SIFF film I saw that hasn’t been released: Tony Barbieri’s Em

Robert Horton

(from his blog)

1. The Edge of Heaven
2. The Duchess of Langeais
3. The Romance of Astrea and Celadon
4. The Dark Knight
5. Wendy and Lucy
6. Married Life
7. Priceless
8. In Bruges
9. Forever
10. Let the Right One In

Richard T. Jameson

2008 was one weird film year for a variety of reasons, and trying to throw a Ten Best list around it has seemed a fool’s-errand. This fool’s latest version of one, for the editor of Germany’s brave Steadycam magazine to post online, should be the last I hazard … though it, like its predecessors, ignores some half-dozen first-rate films seen at the 2008 Toronto International Film Festival and unreleased as yet Stateside.

In Bruges
In Bruges

1) The Edge of Heaven (Fatih Akin)
2) A Christmas Tale (Arnaud Desplechin)
3) The Secret of the Grain (Abdellatif Kechiche)
4) I’ve Loved You So Long (Philippe Claudel)
5) Wendy and Lucy (Kelly Reichardt)
6) Let the Right One In (Tomas Alfredson)
7) In Bruges (Martin McDonagh) … hands-down favorite!
8 ) WALL•E (Andrew Stanton)
9) A Girl Cut in Two (Claude Chabrol)
10) Tell No One (Guillaume Canet)

Kathleen Murphy

1.  The Edge of Heaven
2.  In Bruges
3.  A Christmas Tale
4.  I’ve Loved You So Long
5.  Wendy and Lucy
6.  Let the Right One In
7.  WALL•E
8.  The Curious Case of Benjamin Button
9.  Vicky Christina Barcelona
10. Man on Wire

Andrew Wright

Let the Right One In
Let the Right One In

1. The Dark Knight
2. The Edge of Heaven
3. Let the Right One In
4. Burn After Reading
5. OSS 117: Cairo, Nest of Spies
6. WALL•E
7. Redbelt
8. Encounters at the End of the World
9. Fear(s) of the Dark
10. JCVD

Select Seattle-area Critics

William Arnold, Seattle Post-Intelligencer

(in no particular order)

U2 3D
Milk, W., Frost/Nixon
The Curious Case Of Benjamin Button
The Reader
The Visitor
Cassandra’s Dream/Vicky Cristina Barcelona
Iron Man, The Dark Knight
Valkyrie
Slumdog Millionaire
WALL•E

Moira Macdonald, Seattle Times

(in alphabetical order)

The Curious Case of Benjamin Button
The Dark Knight
Frozen River
Man on Wire
Milk
Priceless
Revolutionary Road
Shine a Light
Tell No One
WALL•E

Tom Tangney, KIRO

1. The Edge of Heaven
2. Synecdoche, N.Y.
3. Boy A
4. I’ve Loved You So Long
5. Man on Wire
6. Funny Games
7. Towelhead
8. Wall•E
9. Rachel Getting Married
10. (tie) Slumdog Millionaire, The Curious Case of Benjamin Button, The Dark Knight.

Wendy and Lucy
Wendy and Lucy

Winners Announced in 2004 Seattle Film Critics Awards

Press release

Winners Announced in 2004 Seattle Film Critics Awards

Forget about a recount! There will be no manual tally, no divining of intent, no lost ballots “discovered” behind the polling booth. The Seattle Film Critics have determined in no uncertain terms (okay, there is one tie) their choices for the best films of 2004.

The Puget Sound area’s fourteen most prominent print critics have fallen for the gym-rat nobility of MILLION DOLLAR BABY, naming it their best picture and giving the director nod to Clint Eastwood. We are pleased to encourage this fresh young face in his filmmaking endeavors.

Acting honors went to Jamie Foxx, for his dazzling diddy-bop through the life of Ray Charles, and Imelda Staunton, for her finely-tuned VERA DRAKE portrait of a housewife whose homely ministrations include back-room abortions. Supporting awards went to the lovingly re-discovered SIDEWAYS duo of Thomas Haden Church and Virginia Madsen.

The Seattle Critics Awards are unique in bestowing a “Living Treasure” award, given to a long-cherished movie notable deserving of career recognition. This year’s winner is Henry Bumstead (born 1915), one of Hollywood’s greatest art director/production designers, whose astonishing catalog of films includes VERTIGO, TO KILL A MOCKINGBIRD, TOPAZ, THE STING, HIGH PLAINS DRIFTER, THE FRONT PAGE (74), THE WORLD ACCORDING TO GARP, CAPE FEAR (91), MYSTIC RIVER, and MILLION DOLLAR BABY.

(Previous “Living Treasure” winners: Maureen O’Hara, Christopher Lee.)

A “Special Citation” for restoration work went to Richard Schickel and Brian Jamieson, for their efforts in restoring 50 previously-unseen minutes to Samuel Fuller’s splendid 1980 film THE BIG RED ONE.

With that, the winners and runners-up in the Seattle Film Critics Awards. See below for voting members.

BEST PICTURE

Million Dollar Baby
Runner-up: Eternal Sunshine of the Spotless Mind

BEST DIRECTOR

Clint Eastwood, Million Dollar Baby
Runner-up: Martin Scorsese, The Aviator

BEST ACTOR

Jamie Foxx, Ray
Runner-up: Jeff Bridges, The Door in the Floor

BEST ACTRESS

Imelda Staunton, Vera Drake
Runner-up: Catalina Sandino Moreno, Maria Full of Grace

BEST SUPPORTING ACTOR

Thomas Haden Church, Sideways
Runner-up: Clive Owen, Closer

BEST SUPPORTING ACTRESS

Virginia Madsen, Sideways
Runner-up: Laura Dern, We Don’t Live Here Anymore

BEST ORIGINAL SCREENPLAY

Eternal Sunshine of the Spotless Mind (Charlie Kaufman)
Runner-up: Vera Drake (Mike Leigh)

BEST ADAPTED SCREENPLAY

Sideways (Alexander Payne, Jim Taylor)
Runner-up: Million Dollar Baby (Jim Haggis)

BEST DOCUMENTARY

(tie) Control Room and Touching the Void

BEST FOREIGN LANGUAGE FILM

Maria Full of Grace
Runners-up: Blind Shaft, Hero

BEST ANIMATED FILM

The Incredibles
Runner-up: Ghost in the Shell 2: Innocence

BEST CINEMATOGRAPHY

Hero (Christopher Doyle)
Runner-up: Collateral (Dion Beebe, Paul Cameron)

BEST MUSIC

The Aviator (Howard Shore)
Runner-up: Million Dollar Baby (Clint Eastwood)

LIVING TREASURE

Henry Bumstead

SPECIAL CITATION

Richard Schickel and Brian Jamieson, THE BIG RED ONE

The voters in the 2004 Seattle Film Critics Awards:

Soren Andersen – Tacoma News Tribune
Tim Appelo – Seattle Weekly
William Arnold – Seattle Post-Intelligencer
Sean Axmaker – Seattle Post-Intelligencer
Sheila Benson – Seattle Weekly
John Hartl – Seattle Times
Robert Horton – The Herald
Richard T. Jameson – Queen Anne News
Moira Macdonald – Seattle Times
Derich Mantonela (Mike Anderton) – Seattle Gay News
Brian Miller – Seattle Weekly
Paula Nechak – Seattle Post-Intelligencer
Mark Rahner – Seattle Times
Bradley Steinbacher – The Stranger

Winners Announced in Second Annual Seattle Film Critics Awards

Press release

Winners Announced in Second Annual Seattle Film Critics Awards

December 18, 2003

Jack Valenti be damned! The second annual Seattle Film Critics Awards are here, despite Hollywood’s notorious ban on screeners. Fourteen of the most prominent print critics from the Puget Sound area have voted on the best in the film year, perhaps naively believing that movies should be seen on the big screen anyway.

The Seattle critics, all from print-only publications, handed major awards to small movies–yet found room for hobbits, too. AMERICAN SPLENDOR, the pixillated tale of Cleveland comic-book creator Harvey Pekar, won Seattle’s best picture award. The film’s screenplay, and leading lady Hope Davis, also got the nods in their categories. Meanwhile, Bill Murray won the best actor prize for LOST IN TRANSLATION, which makes us wonder how you say, “Now get outta here, ya knuckleheads” in Japanese.

In a category unique to the Seattle critics, a “Living Treasure” was also named, an award that honors some long-cherished movie notable deserving of career recognition. This year’s award went to Christopher Lee, the magnificently suave and sinister English actor whose work is gloriously associated with Hammer horror films, notably as perhaps the finest screen Dracula. No stranger to straight roles (THE PRIVATE LIFE OF SHERLOCK HOLMES, THE THREE MUSKETEERS), Lee has lately found acclaim in both the newest STAR WARS trilogy and THE LORD OF THE RINGS…even if he was unceremoniously cut from THE RETURN OF THE KING. (Last year’s “Living Treasure” was Maureen O’Hara.)

A Special Citation was awarded to Rialto Pictures, for their stirring restorations and/or re-releases of a series of French classics in the past year, including LE CERCLE ROUGE, QUAI DES ORFEVRES, and TOUCHEZ PAS AU GRISBI.

Without further ado, the winners of the Seattle Film Critics Awards:

BEST PICTURE

American Splendor
Runners-up: The Lord of the Rings: The Return of the King; Lost in Translation

BEST DIRECTOR

Sofia Coppola, Lost in Translation
Runner-up: Peter Jackson, The Lord of the Rings: The Return of the King

BEST ACTOR

Bill Murray, Lost in Translation
Runner-up: Paul Giamatti, American Splendor

BEST ACTRESS

Hope Davis, American Splendor
Runners-up: Charlotte Rampling, Swimming Pool, Charlize Theron, Monster

BEST SUPPORTING ACTOR

Sean Astin, The Lord of the Rings: The Return of the King
Runner-up: Peter Sarsgaard, Shattered Glass

BEST SUPPORTING ACTRESS

Marcia Gay Harden, Mystic River
Runner-up: Patricia Clarkson, Pieces of April

BEST ORIGINAL SCREENPLAY

Lost in Translation (Sofia Coppola)
Runners-up: Finding Nemo (Andrew Stanton, Bob Peterson, David Reynolds); A Mighty Wind (Christopher Guest, Eugene Levy)

BEST ADAPTED SCREENPLAY

American Splendor (Shari Springer Berman, Robert Pulcini)
Runner-up: The Lord of the Rings: The Return of the King (Fran Walsh, Philippa Boyens, Peter Jackson)

DOCUMENTARY

Capturing the Friedmans
Runner-up: Spellbound

ANIMATED FEATURE

The Triplets of Belleville
Runner-up: Finding Nemo

FOREIGN LANGUAGE FILM

The Man on the Train (France)
Runner-up: The Man Without a Past (Finland)

CINEMATOGRAPHY

The Lord of the Rings: The Return of the King (Andrew Lesnie)
Runner-up: Girl With a Pearl Earring (Eduardo Serra)

MUSIC

A Mighty Wind (songs by Christopher Guest, John Michael Higgins, Eugene Levy, Michael McKean, Catherine O’Hara, Annette O’Toole, Harry Shearer, Jeffrey C.J. Vanston)
Runner-up: Lost in Translation (Brian Reitzell, Kevin Shields, William Storkson)

LIVING TREASURE

Christopher Lee

SPECIAL CITATION FOR FILM RESTORATION

Rialto Pictures

There is no Seattle film critics “group,” but a poll of the area’s top print film critics. The poll is organized by Parallax View: A Film Society, a group of film enthusiasts, professionals, and critics. The members of Parallax View are NOT the voters in the awards.

Critics voting in the 2003 awards:

Soren Andersen – Tacoma News Tribune
Tim Appelo – Seattle Weekly
William Arnold – Seattle Post-Intelligencer
Sean Axmaker – Seattle Post-Intelligencer
Sheila Benson – Seattle Weekly
John Hartl – Seattle Times
Robert Horton – The Herald
Richard T. Jameson – Queen Anne News
Moira Macdonald – Seattle Times
Derich Mantonela (Mike Anderton) – Seattle Gay News
Brian Miller – Seattle Weekly
Paula Nechak – Seattle Post-Intelligencer
Mark Rahner – Seattle Times
Bradley Steinbacher – The Stranger

Winners Announced in First Annual Seattle Film Critics Awards

Press release

Winners Announced in First Annual Seattle Film Critics Awards

December 19, 2002

Alarmed by the dearth of year-end movie awards, the film critics of the Puget Sound area have raised their voices in unison for the first time. Twenty-four of the area’s top critics have been polled for the first annual Seattle Film Critics Awards, and the results are in.

Todd Haynes’ FAR FROM HEAVEN proved close to critics’ hearts, winning in six categories, including best picture. The homage to the 1950s melodramas of director Douglas Sirk also won for Julianne Moore as best actress and two awards for Haynes, for best director and best original screenplay.

The Seattle critics also created a special annual category, the “Living Legend” award, which honors some long-cherished movie notable deserving of career recognition. This year’s award went to Maureen O’Hara, the Irish-born, flame-haired Hollywood star whose long career included her many collaborations with both John Wayne (THE QUIET MAN) and John Ford (HOW GREEN WAS MY VALLEY).

The awards were organized by a new Seattle organization, Parallax View: A Film Society, a group of film enthusiasts, professionals, and critics. The members of Parallax View are NOT the voters in the awards. A committee formed by Parallax View polled the area’s leading critics.

Herewith, the results of the 2002 Seattle Film Critics Awards:

2002 Seattle Film Critics Awards – Winners

Best Picture

Far From Heaven
Runner-up: The Lord of the Rings: The Two Towers

Best Director

Todd Haynes, Far From Heaven
Runner-up: Peter Jackson, The Lord of the Rings: The Two Towers

Best Actress

Julianne Moore, Far From Heaven
Runner-up: Nicole Kidman, The Hours

Best Actor

Daniel Day-Lewis, Gangs of New York
Runner-up: Michael Caine, The Quiet American

Best Supporting Actress

Bebe Neuwirth, Tadpole
Runner-up: Toni Collette, About a Boy

Best Supporting Actor

Chris Cooper, Adaptation
Runner-up: Dennis Quaid, Far From Heaven

Original Screenplay

Far From Heaven, Todd Haynes
Runner-up: Y Tu Mama Tambien; Alfonso Curaon, Carlos Curaon

Adapted Screenplay

The Hours, David Hare
Runner-up: The Lord of the Rings: The Two Towers; Peter Jackson, Fran Walsh, Philippa Boyens, Stephen Sinclair

Documentary

The Kid Stays in the Picture
Runner-up: Standing in the Shadows of Motown

Foreign-Language Film

Y Tu Mama Tambien
Runner-up: The Fast Runner (Atanarjuat)

Cinematography

Far From Heaven, Edward Lachman
Runner-up: Gangs of New York, Michael Ballhaus

Music

Far From Heaven, Elmer Bernstein
Runner-up: Punch-Drunk Love, Jon Brion

Editing

Femme Fatale, Bill Pankow
Runner-up: The Lord of the Rings: The Two Towers, D. Michael Horton

Production Design

Gangs of New York, Dante Ferretti
Runner-up: Far From Heaven, Mark Friedberg

Living Treasure

Maureen O’Hara

PARALLAX VIEW: A FILM SOCIETY is a newly-formed group of Seattle film professionals, enthusiasts, teachers, and critics. Our goal is to champion the cause of film literacy, foster public discussion of the place of movies in society, and promote the serious, sometimes delirious cause of film as art. To that end, we sponsor public events featuring filmmakers and critics, publish provocative writing about film, and present the annual Seattle Film Critics Awards, voted on each December.

Critics polled in the 2002 Seattle Film Critics Awards:

Soren Andersen – Tacoma News Tribune
William Arnold – Seattle Post-Intelligencer
Sean Axmaker – freelance/Seattle Post-Intelligencer
Sheila Benson – freelance/Seattle Weekly
Jim Emerson – freelance/cinepad.com
Gillian Gaar – freelance/Tablet
Shannon Gee – freelance/Seattle Weekly
John Hartl – freelance/Seattle Times
Robert Horton – Everett Herald/KUOW-FM
Richard T. Jameson – freelance/Pacific Press Newspapers
Moira Macdonald – Seattle Times
Derich Mantonela (Mike Anderton) – Seattle Gay News
Michael Medved – freelance/syndicated
Brian Miller – Seattle Weekly
Kathleen Murphy – freelance/SteadyCam
Paula Nechak – freelance/Seattle Post-Intelligencer
Sean Nelson – The Stranger
Mark Rahner – Seattle Times
Bruce Reid – freelance
Jeff Shannon – freelance/Amazon.com
Steven Shaviro – freelance/shaviro.com
Keith Simanton – Internet Movie Database
Andy Spletzer – freelance
Tom Tangney – KIRO-AM