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HeerJeet's profile
Jeet Heer
Jeet Heer
Jeet Heer
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@HeerJeet

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Jeet HeerVerified account

@HeerJeet

1. Writer, The Nation https://www.thenation.com/authors/jeet-heer/ … 2. email: jeetheer1967 at gmail dot com 3. Twitter essayist 4. Drawn by Joe Ollmann

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Joined June 2012

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    1. Isaac Butler‏ @parabasis 10 Apr 2020

      PARIS BLUES (1961, Dir: Martin Ritt) gives us Paris as expat dream city, but like all dreams it’s an escape, and the realities of America and adulthood come for Poitier and Newman’s expat jazz musicians in the form of Diahnn Carroll and Joanne Woodward’s vacationing Americans.pic.twitter.com/jiVe1ErkXY

      1 reply 0 retweets 9 likes
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    2. Isaac Butler‏ @parabasis 10 Apr 2020

      There’s plenty one could use to dunk on Paris Blues with... the racial politics are a bit cringey, the dialogue a little stagey, etc, but Martin Ritt’s directing is so quietly perfect, everyone has chemistry with everyone else, and the performances add real depth and nuance.

      3 replies 0 retweets 2 likes
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    3. Isaac Butler‏ @parabasis 10 Apr 2020

      Also! A great Duke Ellington score and Louis Armstrong in a small role! You know that amazing scene in the jazz club in Talented Mr Ripley? A lot of the movie is like that.

      1 reply 0 retweets 1 like
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    4. Isaac Butler‏ @parabasis 11 Apr 2020

      Today’s walking music is one of the great works of 20th century art.pic.twitter.com/DmujBfoerc

      1 reply 1 retweet 16 likes
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    5. Isaac Butler‏ @parabasis 13 Apr 2020

      Although shot through with social commentary, EDGE OF THE CITY (1957, dir: Martin Ritt) is less “On the Waterfront goes to the train yards” than a tender, somewhat idealized, portrait of an interracial friendship, and the story of a callow man finally owning up to his choicespic.twitter.com/0O8IsgeLiz

      1 reply 0 retweets 5 likes
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    6. Isaac Butler‏ @parabasis 13 Apr 2020

      ... of course that callow young man (Cassavetes) comes into his own thanks to the saintly benevolence, and eventual sacrifice, of his black best friend (Poitier). But Cassavetes and Poitier’s love for e/o is totally convincing, and seeing Poitier cut loose is always welcome.

      1 reply 0 retweets 4 likes
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    7. Isaac Butler‏ @parabasis 13 Apr 2020

      Poitier was method trained and Cassavetes wasn’t, but you can see how the Method has already worked its way into Hollywood, both stylistically and dramaturgically. There’s a clear line (made largely out of self-loathing) b/w Garfield , Brando, and Cassavetes here.

      1 reply 0 retweets 3 likes
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    8. Isaac Butler‏ @parabasis 13 Apr 2020

      I’m not sure exactly what to say about IN THE HEAT OF THE NIGHT (1967, Jewison). The acting is mostly awful. The film is naive (or as Baldwin notes, outright false) on any number of points. But it still *works*, in part because of the pervasive sense of danger surrounding Tibbs.pic.twitter.com/vuPvcydRSR

      2 replies 2 retweets 7 likes
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    9. Jeet Heer‏Verified account @HeerJeet 13 Apr 2020
      Replying to @parabasis

      "The acting is mostly awful" -- whaaaaa?????

      1 reply 0 retweets 3 likes
    10. Isaac Butler‏ @parabasis 13 Apr 2020
      Replying to @HeerJeet

      It’s bad! It’s what you get when a bunch of New York actors try their hand at being southern yokels. You know, like O Brother, except not played for laughs.

      1 reply 0 retweets 0 likes
      Jeet Heer‏Verified account @HeerJeet 13 Apr 2020
      Replying to @parabasis

      I've come around to thinking that New Yorker mangling Southern accents is good. I liked Turturro in Plot Against America.

      8:52 AM - 13 Apr 2020
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      • Isaac Butler
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