It's also refreshing to see a movie about the holocaust that is deliberately without catharsis or redemption. Steiger's Sol Nazerman has been completely destroyed by the camps, even if he's technically survived them. And why shouldn't he be destroyed?
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THE COMMITMENTS (1991, Dir: Alan Parker) this movie is just pure comfort food to me. And sometimes we need comfort!pic.twitter.com/hkzTdgxRQF
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The first film to essentially come out of the Actors Studio, THE STRANGE ONE (1957, dir:Jack Garfein) doesn’t really feel Methody at all. It’s also pretty bad, and only really of interest for the early career work of Ben Gazzara and George Peppard.pic.twitter.com/47gBY6amKL
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THE LOVEBIRDS (2020 dir: Michael Showalter) A barely-there screenplay gets enlivened by Showalter's deft directing and the hard work (and, presumably, improvisational chops) of its two leads. The end result is a second-rate Game Night, but it's still quite charming and funnypic.twitter.com/SEAaOZhHll
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In his gorgeous and stirring KIKI'S DELIVERY SERVICE (1989, Dir: Hayao Miyazaki), Miyazaki gives us a quite odd world that is taken as a given by its denizens, mirroring how children in *our* world must respond to the odd and arbitrary world of their parents.pic.twitter.com/eFL3K9bahg
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(Miyazaki does this in his other kids movies too, of course! it's just heightened here in some ways because Kiki's Delivery Service is a coming of age film. Anyway, when all the sound cut out as she willed herself to fly again I got chills. What a great movie.)
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YOU’RE A BIG BOY NOW (1966, Dir. Francis Ford Coppola)... the riot of visual ideas that Coppola flings at the material is incredible... but 50+ years on, it feels like a movie beamed in from an alien planet. Not a single situation or joke lands, resulting in an antic misfire.pic.twitter.com/OdGxLQdoGh
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URBAN RASHOMON (2013,Dir. Khalik Allah) Is it an escalating series of provocations about the ethics of photographer and subject? A hallucinogenic character study? A spiritual attempt to capture the soul of a near-stranger? A reckoning? All of this?pic.twitter.com/vxHCxrr7gT
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RAGING BULL (1980, Dir: Martin Scorsese) Masculinity is a pair of cement shoes, pulling us all down down down to hell.pic.twitter.com/vThcreA91b
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(Raging Bull is also a movie about the method, and about DeNiro and Scorsese declaring themselves the rightful heirs of John Garfield, Marlon Brando and Elia Kazan... but the masculinity thing is probably more important.)
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But also I'd say the method is related to masculinity. Among other things, the method was a way of showing the chinks in masculinity that weren't visible in earlier acting styles. Brando was very good at that.
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Replying to @HeerJeet
Yes, this is definitely true, and something I talk about in the book... although Garfield and Clift, who predate Brando, really brought this aspect to the fore. There's a kind of grace and effeminacy to male method performance that stretches all the way from Garfield to Pacino.
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