On this week’s Poldark Demelza pleads with Ross not to rush off to save Dwight because perhaps the plan Caroline told her about the Royalists defeating the Jacobins will work out. The look on Ross’ face says he highly doubted that, but he did listen.
George hit the ceiling when he heard that his son Valentine has rickets. The possibility of his heir having a common disease appalled him. I expect if the baby isn’t perfect George would ship him off to an orphanage.
Morwenna’s trying George’s patience by not agreeing to the match with the slithering Rev. Whitworth. Who can blame her? Elizabeth, why don’t you find her someone less slimy? Morwenna’s returned to Trenwith where she’s happily catching toads with Geoffrey Charles and her true love Drake. Aunt Agatha spies them and figures everything out. She then has a tete-a-tete with Morwenna letting the lass know that there’s no future with Drake so she ought to break things off right away. In the end Morwenna realizes that’s true. She ends it with Drake.
Nothing works out across the channel so Ross decides he must go to save Dwight. Drake joins the gang to numb the pain of his broken heart.
George is in a snit about not getting an invitation to a big party. If he were born 240 some years later he could be a regular Mark Zuckerberg, who’s reaction to social rejection was to start a billion dollar internet service. But alas Poldark’s in the late 18th century so George will just grumble and snipe and drive Elizabeth to distraction. Eventually he is invited, but that’s not sufficient because Demelza was invited. He wants to be included and he wants the host to only invite those he wants to see. Demelza gets the better of George in their exchange of cutting remarks.
George thinks trashing Ross will garner social points so he scoffs at what he considers Ross’ foolishness in leading a group of brave men over to France to save Dwight.
Over in France the men fight fiercely to save not only Dwight but a slew of men who’re imprisoned. They party has a casualty, Mr. Henshaw, Ross’ right hand man in the mines. His loss is great and he’ll be mourned for years to come. It makes Dwight’s rescue bittersweet for all but Caroline. Dwight is likely to feel survivor’s guilt for quite some time.
Drake was shot and he’ll need to be tended to, but will probably have PTSD. Morwenna has no one to help her and she’s headed for a terrible marriage.
As usual, this episode was the best thing I saw all week. The drama was pitch perfect as it closely follows the book, included stunning cinematography, and every scene was compelling. Every actor delivered a four star performance.
Starring Audrey Hepburn and Peter O’Toole, How to Steal a Million is another fun, witty movie. Hepburn plays the daughter of an art forger. When her home is broken into by O’Toole, her father and she fear that his forgeries will be revealed. Later they fear that a sculpture lent to a museum will be proven to be a fraud when it’s examined for insurance. Throughout the caper delights.
It’s a lighthearted romp with a clever final heist and a surprisingly moral end. It’s lots of fun and Hepburn and O’Toole are quite entertaining.
Written by David Kamp, The Film Snob’s Dictionary is a fun little reference book with a tongue-in-cheek tone that can help readers learn to b.s. their way through an erudite conversation on film or just help readers learn a little more about filmmakers and terms related to film.
Here are a few entries, chosen randomly, to give you a taste of the book:
Film Threat. Surprisingly buoyant, unsmug Web ‘zine (originally a print magazine) devoted to independent film. Where snobs go to read fulsome appreciations of Sam Raimi and interviews of such Queens of the B’s as Debbie Rochon and Tina Krause. (N.B. The website was bought and taken offline so where will we read these articles about people I never heard of?)
Mankiewicz, Herman. Gruff, whiskey-soaked, cigar chomping, old-school screenwriter par excellence (1807-1953)who bolted from his comfy perch at the Algonquin Round Table to write titles for silent films and screenplays for talkies, famously summoning his friend Ven Hecht west with te line “Millions are to be grabbed out here and your only competition are idiots.” A dab hand at many genres–he wrote or cowrote Dinner at Eight, the Marx Brothers’ Duck Soup and The Pride of the Yankees . . . .
Third Row, The. The only appropriate place for a true cinephile to sit, as per the dictum of the late snob overlord and belle-lettrist Susan Sontag. Though the third row is said to provide the ideal perch from which to comfortably take in the MISE-EN-SCENE while unobstructed by fellow audience members, New York’s Anthology Film Archives, in 1970, catered to the socio-pathology of Film Snobs by opening its Invisible Cinema . . . .
When I made my 2014 New Year’s Resolution to watch one old movie (i.e. before 1960) I had no idea where it would take me. I’ve discovered so many terrific films due to this challenge and the limited, but good selection at my local DVD store.
A prime example is the 1957 The Sweet Smell of Success starring Tony Curtis and Burt Lancaster. Curtis plays Sidney Falco, a struggling, opportunistic press agent who’s both manipulating and manipulated as he tries to get the powerful J.J. Hunsecher played by Burt Lancaster to write about his clients. It’s a career based on lies, begging and creating an icy cool image. J.J. is based on Walter Winchell, a columnist who pioneered the celebrity beat. Here J.J. gets Sidney to break up a romance between his sister and a jazz musician. No one would be good enough for J.J.’s sister Susie. There’s definitely a weird one way vibe between J.J. and Susie, who’s in love with clean cut Dallas.
Sidney has few scruples about setting up Dallas. The one time he objects to J.J.’s plan, he capitulates. Anything to further his career. Sidney lives on the edge in a corrupt world with edgy, witty dialog and high stakes. The few times his maneuvers don’t work, like when he tries to blackmail one of J.J.’s rivals, it backfires. Sidney never thought that someone in his field might prefer to come clean to his wife than to do his bidding. Sidney’s doomed as he’s neither as powerful as J.J. or honest like Dallas or the clean-when-forced-to-be columnist.
The Sweet Smell of Success is set in a kind of hell, a hell with witty reparteés, stylish women and men in sharp suits sipping martini’s. It’s fun to watch, but I wouldn’t want to come within a mile of any of the characters.
I’m now re-watching with the Criterion Collection commentary to eke all I can from the film.
A few quotes:
The Spanish film A Gun in Each Hand looks at middle aged men – their work, families, marriages, and affairs from every angle. There’s a wry wit that runs through this film that depicts several vignettes that end with a surprise. It entertains while looking intelligently at older characters. I usually don’t like films where random lives cross paths, but this film works.
Mr. Peabody (r) and Sherman (l)
When I was growing up I loved watching Mr. Peabody & Sherman’s cartoons as they traveled to various historical events. Now all the kids who have no idea who this famed pair is can see Mr. Peabody, the genius dog, and his boy Sherman right wrongs throughout time and space. The film, which I saw on a plane, captures the heart and soul of the original. Bravo!
The film moves quickly and is witty enough for adults and offers history with a spoonful of sugar for the young. I’m telling everyone I see that they should check this out whether they have kids or not. It’s just a fun film.
Chim chim chiree!
A sweep is as lucky
As lucky can be . . .
I woke up with this song playing in my head after seeing Saving Mr. Banks last night. With stars Emma Thompson and Tom Hanks, I expected a good movie, but those expectations were surpassed. Saving Mr. Banks follows Mrs. Travers as she heads to Disney Studios to finally discuss making her Mary Poppins into a film. Walt has been pursing the rights for 20 years, and Mrs. Travers has resisted. She doesn’t want her characters ruined. She doesn’t want music, animation or silliness. Although we all know how that worked out, we don’t know the story behind it.
The film is a witty, intelligent look at the creative process and the childhood that formed the author. Though flashbacks can be a drawback, here they’re woven into the story very naturally. I loved Emma Thompson who brings Mrs. Travers, as she insisted on being addressed, to life. Although Mrs. Travers was hard to work with every step of the way, I felt on her side. I could understand the need to make sure the writers got the story right, that Walt actually understands that Mary Poppins didn’t come to save the children. She doesn’t want her story to be changed the way Winnie the Pooh was.
I loved that this drama had wit and often made me laugh and that there wasn’t any cursing, violence or gratuitous sex. Good storytelling doesn’t need such crutches. Since I’ve grow used to the language and scenes in films, I forget how soul draining they are.
Now I’ve got to read the actual novel and perhaps some of the subsequent books. I’ve got to see the film again and find a biography of P. M. Travers.