In Contention

Tag: Sudden Impact

  • Quote unquote

    Tom Hanks in Forrest GumpIn one of yesterday’s comment threads, a bit of a discussion built up concerning the quotability (or otherwise) of “Avatar,” and how this factored into its potential pop-culture significance.

    It’s a subject that was also brought up a while back by Cinematical’s Erik Davis, who wondered whether the film’s oft-repeated refrain of “I see you” was a calculated attempt to enter popular conversation. I agree with him that the line seems tooled for that specific purpose, which is precisely why I have a hard time seeing it catch on in a lasting way. (That, and the fact that any sensible person know that “I see you” can only be preceded by a cry of “Peekaboo!”)

    Cinema’s most quotable quotes are rarely designed to be as such. This is also the conclusion of a handily-timed LA Times article, which details the backstory behind now-classic lines from “Cool Hand Luke,” “Forrest Gump,” “Sudden Impact” and, uh, “A League of Their Own.” (Must be an American thing.)

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  • Clint Eastwood — anything he does grabs Oscar’s attention

    Let me begin with something very personal, something I prefer not to do in this column. Movies have not mattered much this past week, as my wife of 18 years, the love of my life was diagnosed with a malignant brain tumor. This Thursday we journey to Sunnybrook Hospital in Toronto to allow the finest surgeons in the country to go in and take the tumor out, with the hope she does not have to have chemotherapy or radiation. There is a chance I could lose her, and that I couldn’t bear. The past few days have been a blur, and yet it is her who urged me back to the computer, with a gentle, “You can’t let the movie writing stop because of this…please…write…” God I love that girl. She is at this moment snoozing behind me as I write this.

    Later this year we will see the release of “Changeling,” the latest from Clint Eastwood who over the last 16 years has become one of the finest directors working in movies. Now seriously, had anyone ever told me in the 70s that one day I would be celebrating the works of Eastwood the director by writing a book about him and his work, I would have laughed in their face at the thought.

    Dirty Harry, the man who acted with apes, becoming a world class director? Yet here we are in 2008 and Eastwood has won two Academy Awards for Best Director, twice been honored by the Directors Guild of America, and won countless critics prizes for his work. Revered by actors, beloved by the studios for whom he works, and respected by his colleagues, he has quietly risen to the very peak of the directing world, sitting alongside Steven Spielberg and Martin Scorsese. His films have the lean feel and look of the best work of John Huston and Howard Hawks to whom story was paramount.

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