Tag: Miller’s Crossing

When They’ve Raised Hell, You’ll Know It.

“So, to quote J. K. Simmons in his magisterially wicked coda to Burn After Reading, ‘What did we learn, Palmer?’ Well, for my part, I learned a few things…More significantly, I learned — or rather re-learned — that the Coens have made an awful lot of really good movies. Out of all 16 features, I enjoyed re-watching all but two: The Ladykillers, which I have always considered their worst effort by orders of magnitude; and, somewhat to my surprise, The Hudsucker Proxy, which I’d always placed in their bottom tier, but which I had looked forward to giving another try.”

On the thirtieth anniversary of Blood Simple — and as we all await Hail Caesar! — The Atlantic‘s Chris Orr has revisited and ranked all sixteen Coen films in sixteen days. I’d quibble with some of the rankings of course — Lebowski and A Serious Man are top-shelf, imo, and Intolerable Cruelty is oft-overlooked — but anybody who has Miller’s Crossing atop their list is my kinda people. Character. Ethics.

Grabthar’s Silver Hammer.

“Rockwell: I wanted to ennoble the coward archetype. I thought of the best cowards in cinematic history, like John Turturro in ‘Miller’s Crossing.’ When we did the shuttle scene I drank four cups of coffee and downed two Excedrin. I wanted to be so hyped that I would have a nervous breakdown on the shuttle.”

On the fifteenth anniversary of a certifiable comedy classic, MTV offers up an oral history of Galaxy Quest. “George Takei: [It’s] a chillingly realistic documentary.”

Those Pipes, Those Pipes Still Calling.

“‘Its long-time popularity, especially among the Irish diaspora in America and Britain, has made it a bonding agent for exiles,” adds Brian Mullen. ‘It is a way for them to recognise themselves, and others to recognise them, as a group.'”

Among them, of course, Leo O’Bannon: On its 100th anniversary, BBC surveys the enduring popularity of Danny Boy. “All the flowers are dying, and they will be for a long time, but then they’ll bloom again and Danny will still be on the road. You never know, because somewhere the pipes, the pipes will be calling.”

100 Things I Love About My Favorite Movies (Pt. 1).

Hello all. So, yes, it’s been quiet again, and the movie reviews I’m behind on are piling up (I’m three back now, going on five.) In the excuse department, work has been even busier than usual, of late, and, obviously, the political scene has been depressing. So there’s that.

Anyway, in partial recompense, here’s my first entry of a fun meme I saw at Cryptonaut-in-Exile a few weeks ago: “100 Things I Love About My Favorite Movies. The rest will follow in a leisurely fashion at some future point.

Here’s the rules: “Rather than posting your 100 favorite films (which has been done and overdone), you simply post your favorite things about movies…[I]nstead of obsessing over whether the films you put on a list are ‘objectively good enough’ to put on said list, you simply jot down 100 moments/lines/visuals that have made a lasting impression on you or sneak their way into running gags between you and your friends.“

And, so, without further ado and in no particular order:


1. Sam Rockwell in Galaxy Quest: I’m starting off with this one because I’m borrowing it from Jonathan Hardesty, from where cdogzilla saw this meme. Sam Rockwell is pretty consistently the best thing about a lot of so-so movies (most recent case-in-point, Cowboys and Aliens), but here he has the distinction of shining bright in a very funny movie regardless.


2. Out of Sight — Timeout at the Bar: “By that time I had been thinking about you a lot, and just wondering what it would be like if we met, if we could take a time-out.” This was on Cryptonaut‘s list, and for good reason. One of the sultriest seduction scenes ever filmed.


3. He Got Game — Opening Homage to Basketball: The last scene of The 25th Hour might well make it into one of the other 80 slots. But for now, I really love this Aaron Copeland-scored opening montage to He Got Game, which makes the case for basketball being the real Great American Pastime.

4. Citizen Kane — News on the March! — “Then, suddenly, less than one week before election, defeat. Shameful, ignominious. Defeat that set back for 20 years the cause of reform in the US!” Like Casablanca, Citizen Kane is one of those movies I originally put in to study up on film history, and left amazed at how powerful it remained. This movie still feels like it could’ve been made yesterday.


5. Big Trouble in Little China – Elevator Scene: “‘I feel pretty good! I’m not scared at all! I feel kind of invincible.’ ‘Me too! I’ve got a very positive attitude about all this!‘” Sure, this is a goofy movie regardless. But I dig how Big Trouble just takes a break for a few moments here to lets its characters get their chill on.


6. Annie Hall — Final scene: “After that it got pretty late, and we both had to go, but it was great seeing Annie again. I realized what a terrific person she was, and how much fun it was just knowing her; and I thought of that old joke, y’know…” The Marshall McLuhan scene is a keeper too, obviously, but this funny and poignant close is Woody’s relationship movies condensed into 30 seconds. (Fun film fact: The scene right before this, where Alvy runs into Annie at The Sorrow and the Pity is Sigourney Weaver’s first movie appearance.)


7. The Shining — The Twins: “Come play with us, Danny. Forever and ever and ever.” I talked about this scene here. Nowadays, when I watch The Shining, I’m frightened by the Gods-eye-view in the opening moments, the shower scene, and Jack Torrance’s insanity-inducing writer’s block. But, when I was a kid, it was the twins. Definitely the twins.


8. In the Loop — Malcom visits the White House: “I’m sorry, I don’t… This situation here is… Is this it? No offence, son, but you look like you should still be at school with your head down a f**ing toilet…Don’t get sarcastic with me, son. We burned this tight-arsed city to the ground in 1814. And I’m all for doing it again, starting with you, you frat f**k.” Arguably the funniest scene in a very funny film, although it’s always hard to pick a favorite moment from this comedy classic. And doesn’t it seem like the WH is really like this these days?


9. Batman Begins — Batman gets the drop: “WHERE ARE YOU?!” “Here.”” The bat-man that preys on the wicked — This is the Dark Knight in a nutshell.


10. Tom Reagan in Miller’s Crossing: This along, with Brazil and the next film in this list, have been my three favorite movies for awhile now. I was looking for the scene where Tom drunkenly crashes the powder room at Leo’s club (“Close your eyes, ladies! I’m coming through!“) to chat with Verna. (“I bet you think you raised Hell.” “When I’ve raised Hell, sister, you’ll know it.“) But it’s not online, and since I love the whole film anyway, here’s the trailer instead.


11. Amadeus — Don Giovanni. “And now…the madness began in me. The madness of the man splitting in half…As I stood there understanding how that bitter old man was still possessing his poor son even from beyond the grave. I began to see a way, a terrible way, I could finally triumph…over God.” A lot of great scenes here too. Here, the patron saint of mediocrity conjures up his master plan.


12. The Fellowship of the Ring — Frodo and Sam first look upon Mordor: “Mordor…I hope the others find a safer route…I don’t suppose we’ll ever see them again.” “We may yet, Mr. Frodo. We may.” Obviously, it’s hard to pick one scene from the trilogy, but the closing seconds of FotR, when Frodo and Sam look out at Mordor from afar just before entering the Emyn Muil, is high up there. It’s the entire journey, distilled in one perfect moment.


13. Menace II Society — Interrogation Scene: “So you bought the bottle of beer — definitely at 12:15? Now you see something, you done f**ked up, you know that, right?” The Hughes brothers’ breakout movie is underappreciated, imho, and also eminently quotable. (“Snaps for the petrol!“) This is where it seems like the jaws are snapping shut on Caine — They should use this technique on Take the Money and Run…then it might be watchable.


14. Blade — Opening Rave With all due respect to Guillermo del Toro’s Aliens-style Blade 2, the Blade franchise peaked in the first ten minutes of the first film, when a fratty B&T’er finds himself in the wrong club in the meat-packing district. Special bonus for the pulse-pounding Pump Panel remix of New Order’s “Confusion.”


15. I’m Not There — Riddle and “Going to Acapulco”: Another film that’s hard to pick one scene from, but this is one of the loveliest musical numbers in the movie, in a town that literally recreates, per Greil Marcus, Dylan’s “Invisible Republic.”


16. The Charlie story in High Fidelity: “Charlie, you f**king b**ch! Let’s work it out!” A lot of funny, painfully-on-point scenes in this movie, and Rob’s scenes with ex-girlfriends #2 and #4 (Lili Taylor) are equally memorable. Still, great self-deprecating cameo by Catherine Zeta-Jones here, and this film is definitely Cusack’s post-teenage peak.


17. X2 — Nightcrawler at the White House: Bamf! As I said in my original review, it’s really a toss-up between this and Magneto’s escape for the best scene in Bryan Singer’s second X-flick. But this moment, kicking off the movie as it does, illustrates how much more fun the second film in comic-book franchises can be, once all the origin-story throat-clearing is out of the way.


18. Carter Burwell’s score for Being John Malkovich: Burwell has done a lot of great work for the Coen brothers over the years, but this is one of his best. It’s hard to imagine the film’s out-of-left-field conceit working as well without the low-key, yearning sadness of the score.


19. Hudson in Aliens: “Maybe you haven’t been keeping up on current events, but we just got our asses kicked, man!” Ah, Hudson. This all-time action film, with a great slow-burn first act, is obviously another very quotable movie, and Bill Paxton has more gems than anybody. “Maybe we’ve got ’em demoralized!“


20. 28 Weeks Later: Robert Carlyle runs like hell: Another great and memorable opening scene that quickly establishes the grim moral economy at work in this surprisingly good sequel. Some folks think of Trainspotting‘s Begbie when they see Carlyle — I always think of this.

Zoot Shoot Riots.

“Zoot Shooters run through a course they call a ‘caper,’ which is often based on a scene from a famous gangster movie, like ‘The Godfather’ or ‘Miller’s Crossing.’ The winner is the person who shoots with the most accuracy in the shortest time. Penalties are tacked on for hitting the ‘good guys.’“

Also by way of a friend, the WSJ looks into “Zoot Shooters,” or what happens when fanboys and gun enthusiasts cross-pollinate. “There are two schools of thought,’ says Steve Fowler, a longtime cowboy shooter going by the name Bat Masterson, a famous Old West gunfighter. He recently took up Zoot Shooting, under the alias G-Man. ‘One is that [Zoot Shooting] is another costuming game and it’s a lot of fun…The other is, if it ain’t cowboy, it ain’t nothing.‘”

The Comeback “Kid.”

Hrm.

Well, that was unexpected…I must say, if nothing else, “false hopes” had a really good night. But, hey, I guess I should’ve known better. As The Wire continually reminds us, despite all evidence to the contrary, maybe a new day is never dawning. (You know, I should really develop some new interests. Maybe it’s time to become a gardening blog or something.)

Anyway, looking at the numbers, it looks like the difference voters in New Hampshire were women, who returned to Clinton’s corner in droves (47% to 34%), and older voters, who’ve been there all along (65 and over: 48% to 32%, 50-64: 39% to 30%, 40-49: 44% to 33%.) Well, at least the kids are alright. (18-24: 60%-22%, for Obama.)

That all makes a certain amount of sense, I guess. Women more readily see Clinton as a candidate of change by her very nature, and, as I wrote at great length about over the weekend, many older voters seem to buy what she’s selling regardless: another eight years of cautious, obfuscating, Grand Theft Auto-blaming and very “experienced” incrementalism.

To be honest, on its face, New Hampshire going Clinton doesn’t bother me all that much. It’s an older, whiter state, and for all its vaunted independence, it’s usually just contrarian for its own sake, like bad Slate columns and Armond White. Once Clinton became the underdog after Iowa, it was a natural pick-up for her.

What does concern me, tho’, is the bizarre polling problem we saw tonight. Some polls are occasionally wrong, sure, but every poll — not one poll, every poll — had Obama up between five and twelve points this morning. Ok, well, there were a lot of undecided voters, and clearly most of ’em broke for Clinton. So be it. More disconcerting, however, exit polls — taken after the votes were made, mind you — also had Obama up by five. So, how did we finish down two at the end of the night (with the polls still getting the GOP race exactly right?) How did every poll miss out on that seven point swing, a swing based on post-voting data? I suppose it’s still an open question, but the elephant in the room is the Bradley Effect, and, I gotta say, I’m pretty disgusted right now with my fellow white people. Vote for who you want to vote for, but don’t lie about it before or after the fact. If someone has a better explanation about the disparity in exit polls, I’m all ears. Update: Pollster has a good overview of the various prevailing current theories.

As for what explains Clinton’s victory, I must confess: even given what I said above, I’m at a bit of a loss. This is mainly because I thought the polls reflected, you know, the actual standings. The only real possible game-changer lately, other than just a collective New Hampshire uprising against media expectations (which is stupid – it was their poll answers creating and driving those expectations), was the “Diner Sob”, as Slate is billing it, the other day. Apparently, a sizable majority of New Hampshire’s older/women voters looked in to Clinton’s heart at that moment, and liked what they saw. Iron Eyes Cody for President! I dunno…admittedly, I’m feeling rather Menckenesque at the moment. Still, I’m reminded of Bernie Birnbaum, John Turturro’s character in Miller’s Crossing: “What were you gonna do if you caught me? I’d just squirt a few and then you’d let me go again.“

Bleah. A no-good, lousy night, to be sure. Unless you’re John McCain — for him, the news is great on both sides of the ledger. If the current paradigm wins, so do Republicans. Now, I have no real inclination to vote Republican, but the fact remains: When it comes to campaign finance reform —the change issue — McCain has far, far better creds than Clinton.

Still, it’s not over yet, and adversity builds character, right? We’ve split the first two games, and now attention moves to Nevada and my home state of South Carolina. Neither are necessarily unfavorable terrain for Obama, so if he can weather the post-New Hampshire bounce over the next week, we’re still good to go. But it’s definitely harder now, no doubt. Florence, come to our aid! (For old times’ sake, if nothing else.)

By the way, New Hampshire? Eff you, you tired, gaseous windbag of an “independent” state. Robert Frost, Alan Shepard, and Christa McAuliffe notwithstanding, you haven’t contributed anything to the polity since Daniel Webster. From now on, I’m hiking in Vermont.

Say what you will about the tenets of National Socialism…

“I’m talkin’ about friendship. I’m talkin’ about character. I’m talkin’ about – hell, Leo, I ain’t embarrassed to use the word – I’m talkin’ about ethics.” If you’re a cinephile of any sort, The House Next Door is probably already (or should be) on your reading list. Still in case it isn’t, Matt Zoller Seitz wrote a particularly intriguing essay on the Coens’ view of morality last week (which you absolutely should NOT read until after seeing No Country for Old Men — it gives away the whole game.) “Though they are habitually described as snotty formalists with nothing on their minds but cinematic gamesmanship, the Coens’ body of work is one of the most sneakily moralistic in recent American cinema. To some extent, all of their movies poses questions that supposedly deeper filmmakers have broached time and time again: if we cannot be certain of God’s existence; if there is a possibility that no one’s watching what we do; if, to reference Johnny Caspar in Miller’s Crossing, ‘morality and ethics’ are agreed-upon lies…then what’s the point of being good? Just because.” Update: Also via THND, the Chicago Sun-Times‘s Jim Emerson offers up another quality dissection of No Country.