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Ken Houghton

I grew up on George Reeve, but I prefer Kirk Alyn—which doesn't mean that one on Don McLean's greatest songs is any the less.

There was a silly EW piece a while back where Owen Glieberman, I think, called Diane Lane a surprise; clearly, a man who didn't see The Cotton Club at the right time.

Campaspe

Yes, Toni's life sounds like a plot Sirk could have done, definitely. In fact, he did something similar in All That Heaven Allows, where Jane Wyman falls in love with a much-younger Rock Hudson, only to find herself under assault from her neighbors, society, even her own kids. Far From Heaven took a similar theme and tried to do it in a very Sirk-ian way. One big problem with that movie is that nothing looks as good as Technicolor, except Technicolor.

Queequeg

Lance, I'm disappointed. I thought this was going to be a rave about Diane Lane. It probably started out that way but veered into another direction.

You're probly about my age -- 43 -- and more important, Diane Lane's age, which is the same. (I think IMDB has her age at somewhat younger, but that's inaccurate; I rememember when The Outsiders came out and Lane was on the Tonight Show and she told Johnny how old she was and it turned out she's like two months older than me. That's why I remember.)

Lane is a hottie the same way that Diane Keaton is a hottie. They're both good-looking and are allowing themselves to age gracefully, wrinkles and all. Lane's crow's feet just slay me -- she's the woman who you want to go home to after a day's work. She seems genuine, whether she's on a chat show or playing a role in a movie.

Agree, Lance? Disagree?

Laurel

Diane Lane is excellent. In a lively way.

Hardy

And lively. In an excellent way.

Laurel

She would just as soon kill him as let him sleep with another woman. That happened to me once. Not pretty. But Diane Lane? Pretty. And excellent.

Hardy

And pretty excellent. In a lively way. Pretty much.

Laurel

Can't add much. Pretty well said. Excellent.

Hardy

And to you, sir. Excellently said. Pretty much sums it up, even without adding.

nothstine

Lovely take. Almost makes me forgive Brody's presence. Almost. Agreed, though, that the ideal treatment would make Toni the center.

Here's my favorite moment from the movie, featuring Affleck wonderfully capturing Reeves' physical presence, plus DeMunn as his agent Weisman, plus the radiant Lane: in Quicktime. Shooting Affleck from the back was inspired: you get the bulk, you get the dare-I-say-iconic cut of those suits Kent wore, you get the cheering crowd of urchins pressing their faces against the restaurant glass--and you're left to imagine the look that must surely be on Reeves' face

[And a shout-out to Ken for remembering Kyrk Allen--who, as he always pointed out, never had to have the muscles built into his suit.]

bn

Jim 7

NY Times, June 5, 2000 obituary of Milo A. Speriglio


"Though most of his cases over 41 years involved normal investigative fare like spying on unfaithful spouses, he also handled several other famous cases. One involved the death in 1959 of George Reeves, who played Superman on television.

The actor's mother disputed the official verdict of suicide. Mr. Speriglio concluded that the bullets that killed Mr. Reeves were fired from at least 16 inches away, and his opinion became a significant part of a debate that still continues. The case, however, was never reopened."


Milo was a strange little man who became the propritor of the Nick Harris detective school. Here's an obituary by James Ellroy.

http://partners.nytimes.com/library/magazine/home/20010107mag-speriglio.html

Mike Schilling

I just rented Hollywoodland on the strength of this review (and wanting to try out Safeway's cool DVD-dispensing machine.)

Lance

C., Technicolor! That's something that's missing from Hollywoodland. Maybe not Technicolor itself, but a sense of the brightness of the colors in the 1950s. The art director used a too muddy pallette, I think. The colors are all right, but they don't jump out at you.

Of course, my sense of the colors of the 1950s is based on old postcards.

Queequeg, I agree about Lane, I just have to keep myself reined in when writing about her or I'll start gushing like an eighth grader in love.

Bill Nothstine, that's a great moment and I wanted to put a still from it at the top of the post, but I can't find one online. None of the publicity photos floating around show Affleck in Clark Kent/Superman mode.

Jim 7, That's a cool fact. Thanks for dropping the link.

Ken, I've never seen the Kirk Alyn serials. They're good?

Mike, let me know what you think. On the strength of your comment, I'm going to go use the nifty DVD rental machine at my grocery store. I've always wanted to try it out.

Mike Schilling

Thoughts.

First, I haven't enjoyed Affleck so much since "Chasing Amy". He wasn't trying to make us like him (or George Reeves) or impress us with the power of his performance; he was just being the character.

Second, I'm not convinced that a whole movie couldn't have been made about Reeves. His story is told skeletally here; fleshed out, it might work. I'd like to have seen more of Reeves here. We're told that his career disappointments made him a depressive drunk much more than we're shown it.

Third, the Simo character is a cliche: guy on the outside because staying inside means selling your soul, private eye who wants the truth even after his client gets bought off, guy who keeps on coming even after the rich SOBs who run things beat the crap out of him. At least he gets beaten with a chain instead of having his nose slit open.

Fourth, it's always nice to see Joe Spano, especially playing a part that's so different from Henry Goldblume. (Parenthetically, I love the way Hill Street Blues would cast against ethnic type: what other show would have an Irish cop played by Hector Elizando?)

Anyway, a movie worth seeing for Affleck's and Lane's performances, but not one that really works.

Campaspe

Lance, when making movies about Hollywood everyone seems to go the dark-at-noon noir Chinatown route for the cinematography, when I think Technicolor is just as appropriate, e.g. A Star is Born. That's another reason Sirk could do this story--he didn't feel any obligation toward realism. If his vision required a perfect stag walking right up to Jane Wyman's living room window, so be it.

I'm glad Affleck was good here. I have persisted in believing, based solely on the evidence of Shakespeare in Love, that there is some there there.

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