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For one thing, the number of revival houses back then ... how it breaks the heart.
I had a friend who worked on that movie and has a poster signed by all three directors ... can you imagine?
(threw that out in case we have hard-core auteurists lurking)
Mannion, both films came out around the same time and comparisons were made...mostly favoring Scorsese's picture. It's certainly the superior of the two (Desperately Seeking Susan occasionally carries the feel of television), but my attraction to Seidelman's film is mostly nostalgic. In her DVD audio commentary, she does credit Celine & Julie Go Boating for inspiring Leora Barish and her screenplay.
I think the scenes that play like TV are almost deliberately like that, meaning the scenes with Blum and Metcalf. It has a sitcom-y feel that is probably deliberate and meant to echo their very suburban lives. Although they're both funny, especially Metcalf.
(haven't seen Celine and Julie but David ehrenstein already expressed his preference for that one!)
Now I should just sit over here in the corner and bang my cane...
Aidan Quinn I don't understand either. I guess The Handmaid's Tale was something of a disaster but he was in a number of good films in the decade. He had a good career but not the stardom I was envisioning for him when I walked out of DSS all those years ago.
Fine actor. He did a TV version of All My Sons in the 1980s that was stellar.
She showed up on a morning show recently looking absolutely great, I am happy to say. Much better than Madonna who has exercised to a point that is ... frightening to me. For me the dividing line with Madonna was that stupid Sex book. Before it I find her tremendous fun, after it was just dullsville.
If you resemble Aidan Quinn you should definitely have a photo section on your blog. :D
But I do remember Danceteria quite well, all three floors. It was about dancing and scene-making, not my core deal in those days, but I did spend some time there. What a time. The names come tumbling back (many were gone or not the same by '85) - Max's and CBGB of course, but also the Mudd Club, Hurrah, the Ritz, Tramps, the Bottom Line, Heat, the Peppermint Lounge, the Lone Star. What am I forgetting?
I liked "Susan" a lot, haven't seen it in a long time. but I'd like to, for the nostalgia. The movie was about the end of an era, the tail end in a changing New York - not about the beginning of one.
You are really onto something with that one. Forgetting Sarah Marshall just came out on DVD. Does Judd Apatow ever consider *why* any of his leading ladies might fall in love with his leading men?
but I mean, it's one lousy moment in a lifetime of being a nice guy by most accounts.
I like film this over After Hours, mostly because it has a loopy energy. After Hours was more disquieting. The music is either too after or too before for me, but I knew soooo many gals watched this film and suddenly they all looked like bit players in it. i went to county fair in the hinterlands of WA state a few years ago, and a lotta those little farm girls still dressed like this - unfortunately, so did a lotta their Moms.....generationally creepalicious.
I've always been fond of this movie, because one night in the late '80s, I happened to run across Madonna on St. Mark's Place. I'm not embarrassed to admit that I followed her around for a minute or two. She was with friends. They went into a corner drug store. They bought a bunch of bubble gum, Madonna said something about a tabloid claiming she was having an affair with "Marky Mark" (long before he became the esteemed Oscar nominee) and she refused to look at one magazine a friend proffered because it was "too dirty" for her. Which, considering her public image at the time, is quite remarkable. Interesting night.
Anyway, "Into The Groove" is her greatest song, in my opinion. Great dance number.
Outside of that I overhwelmingly prefer the original: "Celine et julie von en bateau/ Phantom Ladies Over Paris."