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Ray Pride

By Ray Pride Pride@moviecitynews.com

The Good Shepherd (2006, ****)

A WASP GODFATHER, THE GOOD SHEPHERD, directed with restraint by Robert De Niro from Eric Roth’s brilliant screenplay about the origins of modern spycraft, has a patience and command that accrues to a devastating conclusion. goodsherbert_32.jpg Drawing on a range of notorious incidents involving American spies, such as a Russian interrogation subject being given LSD as a truth serum, but primarily working in roman-a-clef territory, basing the story’s Edward Wilson (Matt Damon) on OSS man-turned-architect of CIA, James Jesus Angleton. Explicit also is the influence of Yale and its Skull & Crossbones secret society, to which George H. W. Bush and William F. Buckley, both later CIA agents; Henry Luce, George W. Bush, members of the Heinz family and John Kerry are also Bonesmen. (There’s a knowing subplot involving Nazi sympathizers that coincides with members who had companies confiscated in World World II for trading with the enemy.) Working in the density of the best spy novels, and criss-crossing almost twenty-five years of history, encompassing World War II, the reconstruction fo Europe and 1961’s Bay of Pigs fiasco, Roth is comfortable in LeCarre territory, and Damon’s performance is worthy of comparison to those of Alec Guinness in similar roles. While the near-autistic reserve of Wilson’s intent powers of observation may put off some viewers—Damon, often shielded behind large horn-rims, is playing the most passive of characters—yet the power of the central dilemma grows from the analysis of how power can emanate more from concealment than display. While he’s a star-crossed double in The Departed, in The Good Shepherd he is the cipher who will kill you withou hesitation. DeNiro’s film might have gained from a different approach to momentum as the picture moves past its second hour, but it’s still a fascinating, fully inhabited world, weaving a vision or our own and never descending to mere conspiracy theory. With John Turturro, William Hurt, Angelina Jolie, Michael Gambon, Billy Crudup, Timothy Hutton, Joe Pesci, the great Alec Baldwin and De Niro. Nicely designed by Jeannine Oppewall, shot by Robert Richardson (JFK); inventively scored by Marcelo Zarvos and Bruce Fowler. [Ray Pride]

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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