Posts Tagged ‘Sydney Pollack’

Sugar Water: Jesus Saves (Money)

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The United States Conference of Catholic Bishops recently offered its one cent to married couples struggling through the current recession. (It used to offer two, of course, but everybody’s cutting back these days.) On its For Your Marriage website the USCCB lists “Ten Cheap Dates” that won’t cost you and your spouse an arm and a leg, which, incidentally, will be the new currency once the federal government runs out of bailout money and is forced to shut down the U.S. Mint. But I’m getting ahead of myself. Here are some of the website’s date ideas:

(2) “Tech-free” night. Turn off your cell phones, computer, the TV, and the lights. See what’s left to do without electricity. Sing old songs, have a pillow fight, recount stories of how you met, plan for the future.

If my nonexistent wife and I were to turn off the lights and “see what’s left to do,” I doubt it’d be a pillow fight, which is a dangerous thing to do in the dark. I once read that most household accidents occur in the household, and that those accidents can lead to hospitals, which still charge money for their services. Luckily, they’ll be able to pay for everything themselves once that arm-and-a-leg currency becomes the norm.

As for singing old songs, I don’t think “Money (That’s What I Want)” or that old Destiny’s Child chestnut “Bills, Bills, Bills” are going to solve any problems, though my longtime girlfriend, Aimiee, sings them anyway as a “gentle reminder” that I’m still unemployed.

She also likes to remind me how we met: “I saw you trying on that black leather jacket at Costco seven years ago. Now it’s green. Are you ever going to get a new one?” I once replied, “Your ass used to be small, but now it’s not. Are you ever going to get a new one of those?” But I wouldn’t recommend a comeback like that, especially not in front of friends and family at your third “recommitment” ceremony. (Truth be told, Aimiee’s backside, unlike my hairline, hasn’t really changed since we first met. But if you’re going to take shots at someone during a recession, you might as well be frugal and make them cheap shots.)

Let me state the obvious — the Catholic bishops know you’re going to fool around once the lights are off, but you may recall that they’re not big on birth control. Condoms aren’t a penny apiece, so they do have a point, but keep in mind that once the result of your “tech-free” power surge pops out around Christmas, you’ll still be tech-free because of all the costs that come with a new baby. In other words, don’t expect to be lighting up your Christmas tree this year, let alone buying one.

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Sugar Water: Sydney Pollack (1934-2008)

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“If I had to label myself in some way, I would describe myself as a kind of traditionalist, I suppose, in terms of cinema. Clearly, I’m a victim of the films I saw as a child — which were not so much art films as pop entertainment. I’ve never been a chic director in the sense of art movies, if you will, or an auteur type of director — an innovative director like an Altman, or someone who’s more responsive to the totality, like Francis Coppola. My work is generally in the middle area of popular entertainment — large-budget commercial Hollywood films with stars, which were essentially the kinds of films I saw when I was a kid.”

–Sydney Pollack, from Judith Crist’s Take 22: Moviemakers on Moviemaking (1984)

I was 17 when The Firm came out in the summer of 1993. My girlfriend wanted to see it because she was a Tom Cruise fan and had read the John Grisham novel. I had neither of those things going for me, but I figured director Sydney Pollack’s adaptation might be somewhat entertaining. I was wrong. The Firm was enormously entertaining.

First of all, there’s the cast — sturdy, reliable veterans like Gene Hackman and Hal Holbrook, applying just the right mix of paternal guidance and intimidation to Cruise’s character; Holly Hunter, Ed Harris, and David Strathairn giving funny, memorable supporting performances; Wilford Brimley as a heavy, which is perfect casting in my opinion since the “World’s Scariest Grandpa” coffee mug was made for guys like him; and Gary Busey in a caffeinated five-minute cameo that takes full advantage of his offbeat talent. Pollack plays to his actors’ strengths, even bringing out the best in Cruise by hammering home his character’s no-way-out dilemma. The Firm also boasts a crackerjack score by Dave Grusin, a longtime Pollack collaborator (Three Days of the Condor, Tootsie, Random Hearts), that uses only one instrument — the piano — a rarity in big-budget Hollywood films. Though The Firm is a little too long at two and a half hours (Pollack said in 1995 that he wished he’d had more time to edit it before it was released), the energy of the performances, the music, and Fredric and William Steinkamp’s editing, as well as the changes that Pollack and the film’s writers — David Rabe, Robert Towne, and David Rayfiel — made to Grisham’s story to condense it for the big screen, add up to a terrific suspense thriller.

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