Letters

Letters 08-31-2015

Inalienable Rights This is a response to the “No More State Theatre” in your August 24th edition. I think I will not be the only response to this pathetic and narrow-minded letter that seems rather out of place in the northern Michigan that I know. To think we will not be getting your 25 cents for the movie you refused to see, but more importantly we will be without your “two cents” on your thoughts of a marriage at the State Theatre...

Enthusiastically Democratic Since I was one of the approximately 160 people present at when Senator Debbie Stabenow spoke on August 14 in Charlevoix, I was surprised to read in a letter to Northern Express that there was a “rather muted” response to Debbie’s announcement that she has endorsed Hillary Clinton for president...

Not Hurting I surely think the State Theatre will survive not having the homophobic presence of Colleen Smith and her family attend any matinees. I think “Ms.” Smith might also want to make sure that any medical personnel, bank staff, grocery store staff, waiters and/or waitress, etc. are not homosexual before accepting any service or product from them...

Stay Home I did not know whether to laugh or cry when I read the letter of the extremely homophobic, “disgusted” writer. She now refuses to patronize the State Theatre because she evidently feels that its confines have been poisoned by the gay wedding ceremony held there...

Keep Away In response to Colleen Smith of Cadillac who refused to bring her family to the State Theatre because there was a gay wedding there: Keep your 25 cents and your family out of Traverse City...

Celebrating Moore And A Theatre I was 10 years old when I had the privilege to see my first film at the State Theatre. I will never forget that experience. The screen was almost the size of my bedroom I shared with my older sister. The bursting sounds made me believe I was part of the film...

Outdated Thinking This letter is in response to Colleen Smith. She made public her choice to no longer go to the State Theater due to the fact that “some homosexuals” got married there. I’m not outraged by her choice; we don’t need any more hateful, self-righteous bigots in our town. She can keep her 25 cents...

Mackinac Pipeline Must Be Shut Down Crude oil flowing through Enbridge’s 60-yearold pipeline beneath the Mackinac Straits and the largest collection of fresh water on the planet should be a serious concern for every resident of the USA and Canada. Enbridge has a very “accident” prone track record...

Your Rights To Colleen, who wrote about the State Theatre: Let me thank you for sharing your views; I think most of us are well in support of the first amendment, because as you know- it gives everyone the opportunity to express their opinions. I also wanted to thank Northern Express for not shutting down these types of letters right at the source but rather giving the community a platform for education...

No Role Model [Fascinating Person from last week’s issue] Jada quoted: “I want to be a role model for girls who are interested in being in the outdoors.” I enjoy being in the outdoors, but I don’t want to kill animals for trophy...

Home · Articles · News · Books · Walk Down this Lane
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Walk Down this Lane

Nancy Sundstrom - December 5th, 2002
The title of the book, “Nobody‘s Perfect: Selected Writings from the New Yorker,“ gives a nod to the classic ending line delivered by Joe E. Lewis in the movie “Some Like It Hot,“ when his character discovers that his intended, played by Jack Lemmon, is actually a man. In real life, that saying may be true, but it’s debatable when it comes to the focus here, which is the writing of film critic Anthony Lane.
Lane, who lives in London and is married to writer Allison Pearson (whose wonderful “How Does She Do It?“ was reviewed her a couple of issues ago), has been with the New Yorker since 1993, maintaining their tradition of great movie critiques and critics. He assumed the mantle from the late Pauline Kael, the woman who single-handedly redefined what the craft is about, and has done it consistently since, with wit, style, and elegance.
With “Nobody’s Perfect,“ Lane follows another Kael tradition, that being the compilation of columns into book form. The result is joyous, and a true celebration for those who appreciate good writing, films, and good writing about films. A delight from start to finish, this assemblage of almost 150 reviews and profiles also includes several book reviews and other pieces on art and culture, broken into three categories - movies, books, and people. Every piece here is proof positive that Lane is not just Kael’s successor, he is every bit as insightful, spirited, and gifted as she was. Reading this volume, there is little doubt that Lane is one of the foremost film critics of all time.
His skills are so considerable that often, his writing is better than the films themselves. In fact, the worse the movie is, the sharper and funnier his columns are, and that is not meant to undermine that he has an incredible depth of knowledge about a dizzying array of topics and is an astute analyst. It’s just that he is so sharp and incredibly entertaining, especially when he writes about movies that don’t live up to their potential, as he does here in this excerpt from the Robert Redford-Demi Moore-Woody Harrelson soaper “Indecent Proposal“:

“Indecent Proposal stars Woody Harrelson and Demi Moore as David and Diana Murphy, a young married couple living in California. He is an architect, she sells real estate, but times are hard; the film starts in a welter of voice-overs as they look back on better days. This is sad for them but great news for the audience, which gets to see Woody Harrelson trying to play a high school kid by wearing a shaggy wig: it‘s one of those preposterous, sublimely wrong moments that make you glad to be a moviegoer...“We never had much money,“ Diana muses, looking back on their early years, “so David would show me architecture that moved him.“ Now, there‘s a fun day out: have Woody Harrelson take you around and point out buildings that move him. All in all, it‘s a relief when the two of them go to Vegas on a whim and win twenty-five thousand dollars in a single night. They then make love on top of all the crackling bills, with the camera right there, shifting its position in excitement and rising to a sudden fade. (I think the movie comes before they do.) John Updike pulled a similar stunt in Rabbit Is Rich, where Harry Angstrom screwed his wife amid a hoard of gold Krugerrands, but there you heard the clink of self-delusion as Rabbit lost a coin and scrabbled around for it in panic. No such ironies are permitted here. Instead, the film bundles together all its desires and smelts them into one gleaming character: a billionaire named John Gage, played by Robert Redford. Gage thinks that money can buy you love-or, at any rate, the kind of sex that might, you know, sprout into love... Gage then makes his big offer: a million bucks for a night with Diana -- no aftermath, no strings. “It‘s just my body,“ Diana explains. “It‘s not my mind.“ I was glad to have that cleared up, though it does raise an interesting question: How much would you pay for an evening with Demi Moore‘s mind? I would happily give away the rest of the plot, except that you can guess it anyway. Indecent Proposal induces a strange power in the viewer, a glow of prophecy: you can see every kink in the plot minutes, even hours, before it happens. Looking back at my notes, I found a scribbled menu of predictions -- “He‘ll buy the dress,“ “They‘re going to lose,“ and the eerily specific “He‘ll find the copter taking off as he arrives“ -- each of them followed by a gratified “Yup.“

Lane (and the reader) has great fun with the skewering of movies like this one, as well as others like “Sleepless in Seattle,““Poetic Justice,“ another Demi Moore clunker, “The Scarlet Letter,“ and “Braveheart,“ of which he says, “The obsequies seem to go on forever: the bodies are buried at a Christian ceremony, after which a little girl comes shyly up to William and gives him a thistle. I thought, I‘m out of here.“ The bulk of the book, though, is given to films he admires, and the eclectic list contains the likes of “The English Patient,“ “Speed,“ and “The Usual Suspects.“
The other selections here, profiles of authors such as Vladimir Nabokov and Thomas Pynchon, and some full-length articles, round out the collection and demonstrate the author’s versatility as a critic, as well as his humor and intelligence. Whether he’s dissecting Forrest Gump, Shakespeare, “Sound of Music“ sing-along events, the Oscars, a Walker Evans retrospective, or cookbooks, Lane is a true pleasure to read. At one point, he says that “the ideal literary diet consists of trash and classics...books you can read without thinking, and books you have to read if you want to think at all.“ One can say the same about a walk down this Lane - his work has set new standards for criticism, whether the topic is on the disposable or the indispensable.

 
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