As I sat in the dark watching George Clooney play Mike Morris, the Presidential candidate in ‘The Ides of March,’ I began to tense up. It was all coming back to me now.

Campaigns were months of endless days, take-out food, no sleep and no time to do your laundry. You were not like other people with a job. It was a cause! It demanded your full attention. Nothing was more important, not even your family.

I have worked on two Presidential campaigns when I was younger and a Democrat. There were many other campaign jobs through the years, including Senate races, but there is something special about the race for the White House. From the outside it looks chaotic. But the movie made a few things clear.

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Read part one of this series here.

In William Strauss and Neil Howe’s Generations, the babies born 1925-1942 are classified as members of the “Silent Generation.” These were the kids who grew up during the crises of the Great Depression and World War II, entered young adulthood at the postwar high of the 1950s, and hit middle age during the cultural chaos of the late 1960s and ’70s. This life sequence puts them in Howe and Strauss’ “Adaptive” archetype, a recessive generation less populous in numbers than the ones before (the GI Generation) and after (the Baby Boomers.)

When this generation started making movies they transformed Hollywood. Peter Biskind’s 1998 book Easy Riders, Raging Bulls: How the Sex-Drugs-and Rock ‘N Roll Generation Saved Hollywood lays out the popular narrative. The tail of the Silent Generation and the beginning of the Boomers (filmmakers born 1939-1946) put out major dramatic work that challenged the more bland conventions of mid ‘60s Hollywood cinema. The 1970s were the R-rated decade. Francis Ford Coppola made “The Godfather.” Martin Scorsese released “Mean Streets” and “Taxi Driver.” New serious actors like Jack Nicholson, Warren Beatty, Jon Voight, and Robert De Niro delivered legendary performances. This was a film generation inspired by the French New Wave to treat movies as serious art.

Oscar Nominated-screenwriter, award-winning mystery novelist, and now Pajamas Media CEO Roger L. Simon was a member of this clique. Born in 1943, Simon is like others born at the edges of generations, a blending of both appears in his re-titled memoir Turning Right at Hollywood and Vine, recently released in paperback with new material. (more…)

As the Senior Vice President of programming for the Turner Classic Movies cable TV network and head scheduler of the TCM Classic Film Festival, Charlie Tabesh has a job that most film buffs would die for the chance to have. He not only got to select dozens of the most beloved films ever made for the four-day fest – which runs from next Thursday, April 28, through May in Hollywood – but also picked an enticing array of forgotten gems to screen and was able to invite some of the greatest names in film history to appear at the grand affair.

All his hard work will pay off as thousands of film buffs from not only Los Angeles but around the world dash in and out of four prime venues – the Egyptian Theatre, the Grauman’s Chinese Theatre, Mann Chinese 6 Theatre and the Henry Fonda Theatre – to get their fill of films next weekend. He took time off from his insanely busy preparations to tell PW exclusively about what cinemaphiles have in store from the network, which presents films in uncut and commercial-free format in up to 85 millions homes nationwide.

“There are a lot of things that go into programming the fest, an it’s somewhat dependent on the talent we can get,” says Tabesh. “We know we want Kirk Douglas there and his wanting to join us leads to ‘Spartacus’ being screened. We also have a broader theme of music in the movies, so there’s films with music by George & Ira Gershwin, Bernard Herrmann who would have been 100 years old this year, and the ultimate singing cowboy, Roy Rogers.”

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A pretty good year with a few movies that I would classify as great. The most popular movies were “Home Alone” and “Ghost,” the first of which inspired three sequels and the latter of which inspired what I still contend is the funniest movie trailer of all time.  The Oscars were particularly competitive and geeks are still mad about the outcome.

The nominees:

Dances With Wolves: I love it, but then my Indian name is Struggles with White Guilt.

Ghost: I distinctly remember thinking, really? Ghost? Really?! I don’t dislike it, but it wasn’t exactly Oscar bait. Maybe that’s a good thing.

Awakenings: Mmmmmm, L Dopa. Yummy, delicious L Dopa.

Goodfellas: Scorsese’s career seemed to build to this and plateau with this. I love some early Scorsese, and I love some later Scorsese. But this is the centerpiece of his career, in my opinion.

The Godfather Part III: Okay. Really? Really?!!! There were about a hundred gangster movies released in 1990, so it was practically unavoidable that two of them would wind up Best Picture Nominees, but seriously?

WHAT SHOULD HAVE BEEN NOMINATED

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Saw The Devil’s Advocate for the third time the other night.

No one in film has so dissected and anatomized diabolical corpi with more dedication and precision than Al Pacino.

Not even the combined forces of Martin Scorcese and the chilling characters he created with Robert DeNiro can come up with the living, breathing reality of what Pacino only began to discover with his Michael Corleone of The Godfather.

Prophetically and, I imagine, presciently, I initially spelled Godfather as Todfather.

Yes. The Deathfather!

That rather says it all.

Three film titles initially leap to my mind when I think of Al Pacino’s entire body of work: The Godfather (1972), Devil’s Advocate (1997), and Insomnia (2002).

Pacino’s greatest performance to my mind can be experienced with the film Insomnia, and his portrayal of the LAPD detective, Will Dormer, an indelibly scarred soul farmed out to Alaska. He finds himself in, of all places, Alaska. A town called Nightmute.  (more…)

We’ve all watched well-known, highly regarded actors for the umpteenth time on screen — perhaps even raucously enjoying both their performance and the movie — and thought about how painfully derivative and self-referential they’ve become. Somewhere along the way, over a period of many years, these talented thespians stopped surprising us. They ceased bringing to life fleshed out individuals and  began using and reusing tired sets of predictable quirks and tics.

Mind you, they’re still charismatic and entertaining to watch, but in an almost clownish way. We now go to see them not to be wowed by their acting, but to be entertained by their chewing the scenery and hamming it up. Whereas in the past they lost themselves in a part, now their well-known, theatrically overblown personalities overwhelm everything else on screen.

Who are the worst offenders? My own Top 5 list was compiled with two ground rules: each candidate had to be alive (so James Dean and Marlon Brando each get a reprieve), and they have to have won at least one Academy Award for acting (which spares modern, less-laurelled hams such as Robert Downey Jr., Johnny Depp, Woody Allen, Jeff Goldblum and Mel Gibson.) Again, the following actors are not necessarily unpleasant to watch — raw charisma goes a long way — but they have become predictably one-note parodies of themselves. (more…)

The real fun of the Oscars isn’t the cut-throat competition for the little gold naked man but guessing who will make the biggest idiot of himself. 

The Academy Awards show has a fine tradition of pampered celebrities popping off with something stupid when they hit the stage.  It must be something about TV cameras and the opportunity to make damn fools of themselves before tens of millions of people around the world that the Hollywoodoids find irresistible.  Notice how you never hear any fallout from the “technical awards” ceremony?  You know, the non televised ceremony recognizing the boring technological stuff that actually makes movies possible that is usually held at the Beverly Hills Elks Lodge with hosts Steve Guttenberg, Charo and/or one of the lesser Sweathogs.

Some of the past magic moments are legendary.  Remember back in 1993, when Tim Robbins and his then-gal pal, tranny vomit insanity enthusiast Susan Sarandon, harangued the crowd about the detention of Haitian refugees?  Of course, right after that these stars led the way by opening up the grounds of their mansion to these huddled Haitian masses.

Roberto Benigni engaged in memorably tiresome antics after winning “Best Foreign Language Film of 1997” for the Worst Film of All Time, the insanely appalling Life Is Beautiful.  Life has certainly aged well, and Benigni’s shtick has only gotten fresher, contributing to the runaway freight train of success that his career has become since then. (more…)

Before the election, at a comfortable film festival in Spain, filmmaker Woody Allen told journalists abroad that it would be “a disgrace and a humiliation if Barack Obama does not win.”

“It would be a very, very terrible thing for the United States in many, many ways,” he said. Adding that Mr. Obama, “represents a huge step upward from (the) incompetence and misjudgment” of the Bush administration.”

You know, it’s a hard thing to watch your heroes fall. To see them as they really are, not as you thought they were, not as you wish they were.

I grew up loving Woody Allen movies, ranking “Annie Hall,” “Manhattan” and “Hannah and Her Sisters” as three of my favorite all-time films. With “Radio Days” and “Sleeper” not too far behind.  (more…)