|L.A. Confidential (1997)||The Black Dahlia (2006)|
|The Obsessed Cop||Bud White, hates wife-beaters after his mother was beaten to death by his father when he was a child. Should have died in the end, but mysteriously survives and drives off into the sunset with Lynn Bracken.||Lee Blanchard, obsessed with Black Dahlia case because his own sister's murder was never solved. Should die, and does, while avenging Kay upon her former tormentor/pimp, Bobby DeWitt.|
|Blonde Call Girl with a Heart of Gold||Lynn Bracken came to L.A. from Bisbee, Arizona, with stars in her eyes, instead becomes Veronica Lake lookalike call girl. Bud White becomes obsessed with her.||Kay Lake came to L.A. from Sioux Falls, South Dakota, with stars in her eyes, instead becomes call girl. 'Saved' from tricking by Blanchard, and lives in bizarre love triangle with Blanchard and Bleichert.|
|Ambitious Rookie||Ed Exley, looks like a straight arrow, but shows hidden dark side as story progresses. Moves in on Lynn Bracken in twisted (and ill-advised) power play with Bud White.||Bucky Bleichert, looks like a straight arrow, but shows hidden dark side as story progresses. Moves in on Kay Lake after Lee Blanchard dies.|
|Political Promotion||Ed Exley is promoted to Detective Lieutenant, Homicide, in exchange for testifying in Bloody Christmas scandal.||Lee and Bucky get promoted to Warrants division after agreeing to return to boxing ring, to help push ballot item through.|
|Cabin-style roadside motel?||The Victory Motel (abandoned) is the site of the climactic gun battle; Ed Exley shoots Captain Smith after Exley learns Smith shot Jack Vincennes.||The Red Arrow Motel is where Bucky and Madeleine meet for cheap sex; Bucky shoots Madeleine there after he discovers Madeleine killed Lee.|
|The Frolic Room?||Exley and Vincennes agree to meet there; Exley stands up Vincennes.||Bleichert parks in front of the Frolic Room.||D.A. Ellis Loew played by...||Ron Rifkin||Patrick Fischler|
|Overused solo trumpet score composed by...||Jerry Goldsmith||Mark Isham|
September 24, 2006
September 22, 2006
September 16, 2006
September 15, 2006
Ben Affleck is perfectly cast and offers a wonderfully understated performance as George Reeves, a charming, mildly talented, but old-school handsome actor who died under extremely mysterious circumstances in 1959. The police quickly label Reeves a suicide, and sweep the Reeves case under the carpet. A private detective, Louis Simo (Adrien Brody), trying to stir up some work, convinces Reeves' mother (Lois Smith) to hire him to force the police to consider a murder investigation. Simo's investigation becomes the framework for our discovery of Reeves' story.
In the early fifties, after limited success in feature films, Reeves becomes trapped in two golden cages. His only professional success is The Adventures Of Superman TV show, which has made him so successful he may never be able to find non-Super work again. He falls in love with an original desperate housewife, Toni Mannix (Diane Lane), a wealthy but aging (45 years old?) studio wife. Reeves' youth and charm make Toni feel young again. Toni becomes George's sugar momma, but she ultimately smothers Reeves with her lonliness and fear. While trying to wriggle out of Toni's grasp, Reeves falls in with Leonore Lemmon (Robin Tunney), a classic mean drunk.
In June 1959, Reeves died from a gunshot wound to the head which could have been suicide, but Simo can piece together motivations for murder with all the principal characters. Did Toni become blinded with jealous rage at Reeves' spurning? DId Toni's Mob-connected studio honcho husband arrange a hit? Did Reeves' crazy "fiancee" Leonore flip out after Reeves threatened to call off their engagement?
As talented as Academy-award winner Adrien Brody is, he cannot salvage his totally unremarkable detective story/dramatic framework device. His investigation, and Simo's barely relevant child-custody subplot, break no new dramatic ground. Obviously, in stories based on real events, you sometimes have to include characters and plot points in order to be true to the story, even if they aren't worth the screen time. That's what makes the Simo detective framework so frustrating: his character, and his investigation, is a completely fictional device. Perhaps the creative team behind Hollywoodland included so much of this dramatic framework, because they felt Reeves' character, or perhaps Ben Affleck the actor, could not carry the dramatic weight of the whole film? It turns out that Affleck is outstanding as Reeves, and his emotional arc feels underserved by his limited screen time. If the Simo plotline had been pared down, and a few more meaty scenes with Affleck and Lane had been included, we might be talking about a Best Picture nominee, and not just a well-deserved Best Actor nod for Affleck. (AMC Burlington)
September 1, 2006
Twenty-one years later, Emily and I packed a picnic (fried chicken...mmmm) and caught Back To The Future on DVD, projected onto a giant screen at the Hatch Memorial Shell on Boston's Esplanade.
- Marty spends a eight days in 1955, but the movie skips over three of those days. What does Marty do for those three days? Sit around the Brown mansion?
- Marty catches his father in a tree, peeping with binoculars through a bedroom window. I think we're supposed to think he's peeping on his future wife Lorraine Baines, but I've never thought it looked like her, and we never see the face of the topless woman. Am I the only one who always thought it was just a random woman? We only see the exterior of Lorraine's house in that one shot, so it's impossible to confirm it's the Baines house.
- While I'm dwelling on this topic: if it is Lorraine in the window, does Marty ever connect the dots that George was peeping on Lorraine? Maybe we don't see the woman's face in the window so that they can save the reveal of Marty's future mother for the following scene that evening when Marty wakes up.
|I bought these shirts especially on BTTF.com!|
Also On Stub Hubby: Back To The Future, Part II and Back To The Future, Part III