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David Poland

By David Poland poland@moviecitynews.com

Shattering Cries, 'Lip-Pouty' Lovemaking: Liz Smith's Four-Day Movie Guide


Where would New York cinema be without Liz Smith? If today’s column did not deliver the type of moviegoing insight, advice and general Nitro-Powered Liz Shit that we have taken for granted from her for so long, would you have had the first clue about how and where to satiate your film jones this week?
Seriously! Liz is in your face like a coach. Or like a paramedic:

* If you want to be ravished by images, glamorous melodrama and the mysterious world of Japanese courtesans, try Rob Marshall’s Memoirs of a Geisha. (And before the bitchy infighting of geisha world begins, the story is really quite heartbreaking.)

* If a shattering, cathartic cry is what you’re yearning for, ride over to Brokeback Mountain. …

* The greatest love story ever told? King Kong! Wonderful, spectacular, emotional but, again, much too long.

* Something phantasmagoric for the kids? Visit Narnia. And don’t worry that the nebulous “spiritual” message will influence your kids. They won’t even notice.

* The best and sexiest version of Jane Austen’s perennial is the current Pride and Prejudice. Don’t miss it! …

* Oh, yes, and Woody Allen’s much-touted return to form – new form, actually, with his British setting – the dark, delicious and disturbing Match Point. (Scarlett Johansson and Jonathan Rhys Meyers are so sexy and lip-pouty, one wonders how they get close enough to make love with those oh-so-kissable lips.)

* And try to find showings of early-year releases: Broken Flowers, not so much for star Bill Murray, but for his amazing supporting ladies – Sharon Stone, Frances Conroy, Jessica Lange and Tilda Swinton . . . (and) The Constant Gardener, a devastating love story set amid the corruption of the pharmaceutical industry.

I, for one, would never read the Post were I not seeking a “shattering, cathartic cry,” so Brokeback will probably do it for me. And as long as Liz promises that the baby Jesus will not be getting His hands on my kids, I probably should give Narnia a spin. But a “devastating love story set amid the corruption of the pharmaceutical industry” sounds like hard-on city, so maybe I should movie-hop? Goddamnit, Liz–how about a short list next time?

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One Response to “Shattering Cries, 'Lip-Pouty' Lovemaking: Liz Smith's Four-Day Movie Guide”

  1. Chucky in Jersey says:

    I have always had a suspicion that Liz Smith is on the take. Note how she never writes anything critical of Harvey Weinstein or Michael Jackson.
    Given what’s happening in Washington these days, Smith sounds like one of those op-ed pundits caught whoring for Jack Abramoff.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon