The editor of the New Yorker wishes that someone would step forward and express the nation’s despair as eloquently as Robert F. Kennedy did after the assassination of Martin Luther King. I don’t know. After all, it was just a few months later that the assassin’s bullet found him. These threats are not quelled with poetic words and I don’t know if our society is even capable of hearing such things right now.
I think it’s more important not to forget what brought us here. As Remnick writes:
What must be said, contrary to the rhetoric of Vance, Scott, and Abbott, is that Trump has, to say the least, done little to calm or to unify the country he once led and is campaigning to lead again. Unfortunately, it is hard to recall a public voice in living memory who has done more to arouse the lowest passions that so often percolate within individuals and the greater society.
Even as one expresses genuine relief that Trump escaped a worse fate on Saturday (and sympathy for the family of the spectator at the rally who was killed), it is legitimate to describe what Trump and his rhetoric have meant to the country. ‘
He began his political career with statements like “When I was 18, people called me Donald Trump. When he was 18, @BarackObama was Barry Soweto.” And he went on from there, year after year. After Obama attended a public viewing for Antonin Scalia, but not the funeral, Trump asked, “I wonder if President Obama would have attended the funeral of Justice Scalia if it were held in a Mosque?”
With dizzying frequency, he trafficked in the demagogic language of dehumanization, of “scum” and “vermin” and “animals” and “enemies of the people.” And then there was “Lock her up!” and “Stand back and stand by.” In 2016, he deployed familiar bigoted tropes, declaring that “Hillary Clinton meets in secret with international banks to plot the destruction of U.S. sovereignty.”
Over and over, he has glorified brutality, whether it was the desirability of police throwing “thugs” into “the back of a paddy wagon” or a congressional candidate body-slamming a reporter because he dared to ask about health-care policy. (“Any guy that can do a body slam, he’s my type,” Trump said.) When he heard that MSNBC anchor Ali Velshi had been hit by a rubber bullet during a demonstration in the wake of the death of George Floyd, he called it “a beautiful sight.”
Trump has always dismissed the idea that he has contributed to the division and inflammation of the country’s state of mind. When asked if his language was divisive, he replied, “I don’t think my rhetoric does at all. My rhetoric is very—it brings people together.” And yet he has not hesitated to mock his victims, even when their loved ones were victims of assault. Nancy Pelosi was “crazy,” he said. And when Pelosi’s husband, Paul, was brutalized by a hammer-wielding attacker, he asked, sarcastically, “How’s her husband doing? Anybody know?” The Capitol Hill insurrection, which threatened the lives of Pelosi, Mike Pence, and other political leaders, found its inspiration in the rhetoric of one man.
It’s very rich of the Republicans to be lecturing Democrats about violent rhetoric. But of course they’re doing that. Shamelessness is their superpower. But the rest of us should not be cowed. Just tell the truth — as Remnick does above.
For many decades, Mar-a-Lago was just another venue for charity event, even under Trump’s ownership. Then he ran for president and the big grift was on. The New York Times took an in-depth look at how Trump bilks his followers, who happen to be far right extremists and GOP establishment exclusively. It’s a very thorough multi-media report, so I’ve attached a gift link for you to read the whole thing.
An excerpt:
Traditional charities began peeling away from the club in August 2017, after then-President Trump said there were “very fine people on both sides” of a violent rally to save a Confederate statue in Charlottesville, Va. Of the groups that departed, 10 moved their events to Mar-a-Lago’s chief rival in the Palm Beach banquet business: The Breakers resort.
Groups aligned with Mr. Trump’s politics have taken their place.
Turning Point USA, a right-wing student organization, began hosting an annual gala at Mar-a-Lago in 2018. America First Policy Institute, a nonprofit set up in 2021 by former Trump administration officials, has thrown an “America First Gala” at Mar-a-Lago every year since its founding. America’s Future Inc. — a group led by Michael T. Flynn that has amplified the false conspiracy theory that a global cabal of pedophiles controls the media and politics — has held two events, as has Border911, founded by Thomas D. Homan, who served as acting director of Immigration and Customs Enforcement during the Trump administration.
“This is where we come to recharge our batteries and to know we will retake our nation,” Sebastian Gorka, a former White House aide for Mr. Trump, said from the Mar-a-Lago stage in December. Mr. Gorka is the host of a radio show that describes itself as “the new front lines in the ongoing Culture War against the Left.”
The presidential race is not the only one rooted at Mar-a-Lago. A visit to the resort has become an essential rite for Republican candidates. Since 2021, more than 60 Republicans in or running for Congress or state office have spent money at Mar-a-Lago, most on fund-raisers. Their ultimate objective: securing an endorsement or a surprise appearance from Mr. Trump.
According to federal and state campaign finance filings through the first quarter of 2024, more than $4.7 million has been spent on the property by candidates and political committees since Mr. Trump left the White House and made Mar-a-Lago his permanent residence. Mr. Trump’s campaign, and super PACs supporting it, make up about a quarter of that total.
Trump’s grift is truly astonishing. Like all good con-men he knows his marks and he works them relentlessly. And like all cult leaders he’s convinced his ecstatic followers to believe every word he says.
That tracks with the congressman I wrote about yesterday who wants to go back to 1960. This isn’t Trump. After all, he has children with three different wives and was a playboy throughout his marriages. He assaults women and sleeps with porn stars.
But that doesn’t matter to these people. This is about patriarchy which seeks to control women. How many of these allegedly devout Christian pastors and cult leaders are pedophiles, rapists and philanderers? If Trump empowers them to turn back the clock to a time when men held all the cards and women were prisoners in their own homes and bodies, he can do whatever he wants.
David Corn takes a look at the right’s response to the shooting yesterday. Let’s just say they aren’t exactly being
It is hardly surprising that a political movement that has as its godhead a convicted felon and inveterate liar who attempted to overturn an election and incited a violent assault on the US Capitol to retain power would within nanoseconds exploit the assassination attempt at a Donald Trump rally that left one attendee dead. But the utter brazenness of this effort has been stunning. Before crucial details were known—who’s the shooter? why did he do this?—MAGA was out in full-force to blame President Joe Biden, Democrats, and progressives for this shooting by stirring up anti-Trump sentiment. Leading the way in unhinged right-wing responses, Rep. Mike Collins (R-Ga.) called for Biden to be arrested for “inciting an assassination.”
Even after it emerged that Thomas Matthew Crooks, the alleged shooter, was a registered Republican (who apparently made a $15 donation to a liberal political action committee in 2021), the crap kept coming. Sean Parnell, a right-wing commentator who in 2021 suspended his Senate campaign in Pennsylvania after his wife accused him of spousal and child abuse, tweeted at Biden: “It happened because of this sort of BS rhetoric from you & the rest of your party. It’s sickening. It needs to stop.”
Rep. Lauren Boebert (R-Colo.) quickly proclaimed that Biden “is responsible” for the shooting. She then went further than blaming the Ds for their anti-Trump rhetoric and retweeted a post from a MAGA activist who explicitly accused the Democrats of being behind the shooting: “The Dems realized it’s too late to switch out their candidate so they attempted to kill ours instead.” Rep. Marjorie Taylor Greene voiced the same dastardly message: “Democrats wanted this to happen. They’ve wanted Trump gone for years and they’re prepared to do anything to make that happen.” Greene’s remark suggested the Democrats were somehow involved in this attempted assassination.
These comments from the Republicans and MAGA extremists were reckless and absurd. For years, Trump has been pushing an ugly narrative: Joe Biden and the Democrats are in league with antifa, Black radicals, and communists to destroy the nation. Trump has said this zillions of times. In both the 2020 and 2024 campaigns, he has exclaimed that if Biden is elected “we may not have a country anymore.” He has repeatedly preached an apocalyptic sermon casting his political rivals as bent on annihilating the United States. He has depicted Biden and his allies as an existential threat to America.
And, of course, Trump has repeatedly encouraged violence—most infamously on January 6. But with this shooting his MAGA allies quickly spotted an opportunity for a rubber-glue propaganda campaign to characterize the Dems as the true threat to democracy and civility and concoct a massive deflection. One of Biden’s chief lines of attack on Trump is that he presents a danger to the republic. Now the Trump crew had a chance to turn the tables and they eagerly grabbed it. Ultimately, the MAGA crowd doesn’t have to win the argument that Biden endangers democracy. They merely need to use it to muddy the waters and undercut the Democrats’ main case against Trump.
That’s the whole point. They shamelessly revert to the “I know you are but what am I” posture every time. Democrats shouldn’t fall for it.
Corn lists some of the other ridiculous right wing hot takes from big names like Elon Musk and Dave Rubin who said that Antifa should be named a terrorist organization without any proof that the shooter had an affiliation. Marco Rubio said that Go protected Trump (and apparently sacrificed a couple of bystanders, but whatevs.)
He concludes:
The attempted assassination of Trump was a horrific event that claimed the life of one person and further traumatized American politics. It also triggered a flood of bullshit. The MAGA world rushed to take advantage of the shooting to remake Trump, who has essentially condoned political violence by vowing to pardon January 6 rioters, into a martyr of political violence and to portray Democrats as the perpetrators of such violence. It is a foul act but a true reflection of the black-is-white reality-denialism of Trump and and his MAGA following
The cause of this tragic shooting has yet to be determined. But one thing is certain: Only one of the candidates in the 2024 contest incited a violent assault on the US Capitol to overturn an election and still threatens American democracy. What happened in Butler, Pennsylvania, does not change that.
I agree with that. And this, which is also all over social media.
He did ham it up. And for all the pearl clutching on the right admonishing the left for its allegedly incendiary rhetoric, you’d think that Trump’s — yes, very hammy — fist pumping “fight, fight, fight!” kind of contradicts that.
Just ahead of news of the shootings at a Trump rally in Pennsylvania, Netroots Nation 2024 closed in Baltimore with a dialogue between a Palestinian and Israeli, friends who both lost family and friends in the violence along the Gaza border last year and in Gaza itself since. Aziz Abu Sarah and Maoz Inon work together for peace to prove peace is possible. Crying together can be healing. The dialogue was inspiring.
Daily Kos founder Markos Moulitsas earlier urged attendees not to lose our shit. He did not support Biden during the 2020 primaries; he backed Elizabeth Warren. Nevertheless, Black primary voters in South Carolina chose the most boring candidate in the race (Biden) … who won and turned out to be a pretty great president.
Democrats, he reminded the audience, have over performed the polls since 2018, They’ve won ballot initiatives everywhere. Meantime, Trump underperformed in his primaries. Republicans tell pollsters they support Trump, but then don’t show up for him. We are in uncharted territory where polls are concerned.
His message: Don’t Panic. We’ve got this.
Shortly later, we heard about the attempted assassination in Pennsylvania.
The world is upside down. Irony isn’t dead, but it is cruel.
Someone fired shots from a nearby rooftop at a presidential candidate last night in Pennsylvania, killing one spectator and leaving two critically injured. A Secret Service sniper killed the shooter. He was not carrying ID, but has been identified. The candidate walked away with a nicked ear, though it’s not clear if from a bullet or from a glass shard blown off a teleprompter. The assassination attempt failed:
The gunman who attempted to assassinate former President Donald J. Trump at a rally in Pennsylvania on Saturday was identified by the F.B.I. as Thomas Matthew Crooks, a 20-year-old from Bethel Park, Pa., but officials released no additional information about him.
“This remains an active and ongoing investigation,” the F.B.I. said in a statement early Sunday.
The gunman did not have a criminal history reflected in Pennsylvania’s public court records, and officials said they had not identified a motive. A voter-registration record showed that Mr. Crooks was registered as a Republican, though federal campaign-finance records show he donated $15 to the Progressive Turnout Project, a liberal voter turnout group, through the Democratic donation platform ActBlue in January 2021.
Addressing the nation about two hours after the shooting, Biden said he was relieved that Trump is reportedly “doing well.” He said he had been unable to reach Trump before his remarks, but the White House said he did speak to Trump several hours later.
“We cannot allow this to be happening,” Biden said. “The idea that there’s violence in America like this is just unheard of.”
Biden, speaking without a teleprompter, said he was waiting for additional information before formally calling the attack an attempted assassination on the former president.
“I have an opinion, but I don’t have any facts,” he told reporters, pledging to provide updates as he learns more.
The attempt on Trump’s life represents a significant security failure.
Two dead (including the suspect), two seriously wounded, and a presidential candidate injured. Except for the occupation of last victim, just another Saturday night in the U.S. in 2024. This political season will get worse from here.
Here’s what I know. With a well-fed conspiracy culture entrenched with Trump’s help, one of my first reactions was was it staged? (They’ve got me doing it!) Whatever information comes out about the shooter, it will be spun on the right as “fake news” or some Deep State conspiracy. (Former Trump 2020 campaign manager Brad Parscale floated the “deep state conspiracy” theory within about 90 minutes.) The former WWF showman got some iconic images of himself with fist raised as he was led away. They are sure to show up in posters and tee shirts within hours. (See above.)
The atmosphere of fear, distrust, and political hatred is sure to worsen from here, not give America pause for reflection. If Project 2025 was meant to be the vehicle for Trump’s revenge and retribution, now add angry justification to the recipe. You know he will.
To borrow an old line from a friend, all in all, I wish it hadn’t happened.
Someone tried to shoot Trump today. They didn’t get him, although reports are saying his ear was cut by some flying glass from his teleprompter. Two others were shot, however, and the shooter was as well.
We don’t know yet about motives. But we do know this:
Oh really?
Here's Trump echoing Adolf Hitler during his rally yesterday saying he will "root out the communist, Marxist, fascist and the radical left thugs that live like vermin within the confines of our country…" pic.twitter.com/t9Gjq7yfub
With the mercury continuing to soar in many sections of the country I thought I would curate a Top 15 “hot” noirs festival. Hot-as in sweaty, steamy, dripping, sticky, sudoriferous crime thrillers (get your mind out of the gutter). If you’re like me (and isn’t everyone?) there’s nothing more satisfying than gathering up an armload of DVDs and spending a hot weekend ensconced in my dark, cool media room (actually, I don’t have a “media room” nor any A/C in my apartment…but I can always dream). Enjoy!
Ace in the Hole – Billy Wilder’s 1951 film is one of the bleakest noirs ever made:
Charles Tatum: What’s that big story to get me outta here? […] I’m stuck here, fans. Stuck for good. Unless you, Miss Deverich, instead of writing household hints about how to remove chili stains from blue jeans, get yourself involved in a trunk murder. How about it, Miss Deverich? I could do wonders with your dismembered body.
Miss Deverich: Oh, Mr. Tatum.Really!
Charles Tatum: Or you, Mr. Wendell-if you’d only toss that cigar out the window. Real far…all the way to Los Alamos. And BOOM! (He chuckles) Now there would be a story.
Tatum (played to the hilt by Kirk Douglas) is a cynical big city newspaper reporter who drifts into a sun-baked New Mexico burg after burning one too many bridges with his former employers at a New York City daily. Determined to weasel his way back to the top (by any means necessary, as it turns out), he bullies his way into a gig with a local rag, where he impatiently awaits The Big Story that will rocket him back to the metropolitan beat.
He’s being sarcastic when he exhorts his co-workers in the sleepy hick town newsroom to get out there and make some news for him to capitalize on. But the irony in Wilder’s screenplay (co-written by Lesser Samuels and Walter Newman) is that this becomes a self-fulfilling prophesy for Tatum; in his attempt to purloin and manipulate the scenario of a man trapped in a cave-in into a star-making “exclusive” for himself, it’s Tatum who ultimately becomes The Big Story. Great writing, directing and acting make it a winner.
The Big Easy – “Aw…come on, chère.” I can’t reckon why, you… but dey wuz a mess of swampy Louisiana neo noirs bag daer in the 80s- Southern Comfort, Angel Heart, No Mercy, Cat People, Belizaire the Cajun, Down by Law, and (my favorite of the bunch) Jim McBride’s slick 1986 crime drama.
Dennis Quaid and Ellen Barkin star as a NOPD detective and a D.A., respectively who become enmeshed in a police corruption investigation. Initially adversarial, the pair’s professional relationship is quickly complicated by a mutual attraction (what…you’re going to cast Dennis Quaid and Ellen Barkin in a film and not let nature take its course? I mean, come on, chère!).
Admittedly, the twists and turns in Daniel Petrie, Jr.’s screenplay may not hold up to scrutiny, but you’ll be having too much fun watching Quaid and Barkin heat up the screen to care. Great supporting cast, featuring Ned Beatty, John Goodman and Grace Zabriskie.
Body Heat – A bucket of ice cubes in the bath is simply not enough to cool down this steamy noir. Writer-director Lawrence Kasdan’s 1981 Double Indemnity homage blows the mercury right out the top of the thermometer. Kathleen Turner is the sultry femme fatale who plays the late William Hurt’s hapless pushover like a Stradivarius (“You aren’t too smart. I like that in a man.”) The combination of the Florida heat with Turner and Hurt’s sexual chemistry will light your socks on fire. Outstanding support from Richard Crenna, Ted Danson, J.A. Preston and an up-and-coming young character actor named Mickey Rourke.
Chinatown – There are many Deep Thoughts that I have gleaned over the years via repeated viewings of Roman Polanski’s 1974 “sunshine noir”.
Here are my top 3:
1. Either you bring the water to L.A. or you bring L.A. to the water.
2. Politicians, ugly buildings and whores all get respectable if they last long enough.
3. You may think you know what you’re dealing with, but, believe me, you don’t.
Of course, I’ve also learned that if you put together a great director (Polanski), a killer screenplay (by Robert Towne, who passed away earlier this month), two lead actors at the top of their game (Jack Nicholson and Faye Dunaway), an ace cinematographer (John A. Alonzo) and top it off with a perfect music score (by Jerry Goldsmith), you’ll likely produce a film that deserves to be called a “classic”, in every sense of the word.
Cool Hand Luke – “Still shakin’ the bush, boss!” Paul Newman shines (and sweats buckets) in Stuart Rosenberg’s 1967 drama. Newman plays a ne’er do well from a southern burg who ends up on a chain gang. He gets busted for cutting the heads off of parking meters while on a drunken spree, but by the end of this sly allegory, astute viewers will glean that his real crime is being a non-conformist.
Highlights include Strother Martin’s “failure to communicate” speech (Donn Pearce and Frank Pierson’s screenplay is agog with classic lines), Harry Dean Stanton singing “The Midnight Special”, that (ahem) car wash scene and George Kennedy’s Best Supporting Actor turn. Also in the cast: Ralph Waite, Dennis Hopper, Wayne Rogers, Anthony Zerbe, and Joy Harmon steaming up the camera lens as the “car wash girl”.
Detour – Nothing good ever happens on a dark desert highway. Many consider Edgar G. Ulmer’s artfully pulpy 1945 programmer as one of the greatest no-budget “B” crime dramas ever made. Clocking in around 70 minutes, the story follows a down-on-his-luck musician (Tom Neal) with whom fate, and circumstance have saddled with (first) a dead body, and then (worst) a hitchhiker from Hell (Ann Savage, in a wondrously demented performance). In short, he is not having a good night. Truly one of the darkest noirs of them all.
Dog Day Afternoon – As far as oppressively humid hostage dramas go, this 1975 “true crime” classic from Sidney Lumet out-sops the competition. The AC may be off, but Al Pacino is definitely “on” in his absolutely brilliant portrayal of John Wojtowicz (“Sonny Wortzik” in the film), whose botched attempt to rob a Brooklyn bank turned into a dangerous hostage crisis and a twisted media circus (the desperate Wojtowicz was trying to finance his lover’s sex-change operation).
Even though he had already done the first two Godfather films, this was the performance that put Pacino on the map. John Cazale is at once scary and heartbreaking as Sonny’s dim-witted “muscle”. Keep an eye out for Chris Sarandon’s cameo. Frank Pierson’s tight screenplay was based on articles by P.F. Kluge and Thomas Moore.
High and Low – Akira Kurosawa’s multi-layered 1963 drama is adapted from Ed McBain’s crime thriller King’s Ransom. Toshiro Mifune is excellent as a CEO who risks losing controlling shares of his company when he takes responsibility to assure the safe return of his chauffeur’s son, who has been mistaken as his own child by bumbling kidnappers.
As the film progresses, the tableau subtly shifts from the executive’s comfortable, air-conditioned mansion “high” above the city, to the “low”, sweltering back alleys where desperate souls will do anything to survive; a veritable descent into Hell.
While the film is perfectly serviceable as an absorbing police procedural, it delves deeper than a standard genre entry. It is also an examination of class struggle, corporate culture, and the socioeconomic complexities of modern society.
The Hot Spot – Considering he accumulated 100+ feature film credits as an actor and a scant 7 as a director of same over a 55-year career, it’s not surprising that the late Dennis Hopper is mostly remembered for the former, rather than the latter. Still, the relative handful of films he directed includes Easy Rider, The Last Movie, Colors, and this compelling 1990 neo-noir.
Don Johnson delivers one of his better performances as an opportunistic drifter who wanders into a one-horse Texas burg. The smooth-talking hustler snags a gig as a used car salesman, and faster than you can say “only one previous owner!” he’s closed the deal on bedding the boss’s all-too-willing wife (Virginia Madsen), and starts putting the moves on the hot young bookkeeper (Jennifer Connelly). You know what they say, though…you can’t have your cake and eat it too. Toss in some avarice, blackmail, and incestuous small-town corruption, and our boy finds he is in way over his head.
In the Heat of the Night – “They call me Mister Tibbs!” In this classic (which won 1967’s Best Picture Oscar) Sidney Poitier plays a cosmopolitan police detective from Philly who gets waylaid in a torpid Mississippi backwater, where he is reluctantly recruited into helping the bigoted sheriff (Rod Steiger) solve a local murder. Poitier nails his performance; you can feel Virgil Tibb’s pain as he tries to maintain his professional cool amidst a brace of surly rednecks, who throw up roadblocks at every turn.
While Steiger is outstanding here as well, I always found it ironic that he was the one who won “Best Actor in a leading role”, when Poitier was the star of the film (it seems Hollywood didn’t get the film’s message). Sterling Silliphant’s brilliant screenplay (another Oscar) works as a crime thriller and a “fish out of water” story. Director Norman Jewison was nominated but didn’t score a win. Future director Hal Ashby won for Best Editing. Quincy Jones composed the soundtrack, and Ray Charles sings the sultry theme.
Night Moves – Set in Los Angeles and the sultry Florida Keys, Arthur Penn’s 1975 sleeper stars Gene Hackman as a world-weary P.I. with a failing marriage, who becomes enmeshed in a case involving battling ex-spouses, which soon slides into incest, smuggling and murder. As always, Hackman’s character work is top-notch. Also with Jennifer Warren (in a knockout, Oscar-worthy performance), Susan Clark, Edward Binns, Harris Yulin, James Woods and Melanie Griffith (in her first credited role). Alan Sharp’s intelligent, multi-layered screenplay parallels the complexity of the P.I.’s case with ruminations on the equally byzantine mystery as to why human relationships, more often than not, almost seem engineered to fail.
The Night of the Hunter – Is it a film noir? A horror movie? A black comedy? A haunting American folk tale? The answer would be yes. The man responsible for this tough-to-categorize 1957 film was one of the greatest acting hams of the 20th century, Charles Laughton, who began and ended his directorial career with this effort. Like many films now regarded as “cult classics”, it was savaged by critics and tanked at the box office upon initial release (enough to spook Laughton from ever returning to the director’s chair).
Robert Mitchum is brilliant (and genuinely scary) as a knife-wielding religious zealot who does considerably more “preying” than “praying”. Before Mitchum’s condemned cell mate (Peter Graves) meets the hangman, he talks in his sleep about $10,000 in loot money stashed somewhere on his property. When the “preacher” gets out of the slam, he makes a beeline for the widow (Shelly Winters) and her two young’uns. A disturbing (and muggy) tale unfolds. The great Lillian Gish is on board as well. Artfully directed by Laughton and beautifully shot by DP Stanley Cortez.
The Postman Always Rings Twice – A grimy (but strapping) itinerant (John Garfield) drifts into a hot and dusty California truck stop and” last chance” gas station run by an old codger (Cecil Kellaway) and his hot young wife (Lana Turner). Sign outside reads: “Man Wanted”. Garfield wants a job. Turner wants a man. Guess what happens.
An iconic noir and blueprint for ensuing entries in the “I love you too, baby…now how do we lose the husband?” sub-genre. Tay Garnett directs with a wonderfully lurid flourish. Harry Ruskin and Niven Busch adapted their screenplay from the James M. Cain novel.
Touch of Evil – Yes, this is Orson Welles’ classic 1958 sleaze-noir with that celebrated and oft-imitated tracking shot, Charlton Heston as a Mexican police detective, and Janet Leigh in various stages of undress. Welles casts himself as Hank Quinlan, a morally bankrupt police captain who lords over a corrupt border town. Quinlan is the most singularly grotesque character Welles ever created as an actor and one of the most offbeat heavies in film noir.
This is also one of the last great roles for Marlene Dietrich (“You should lay off those candy bars.”). The creepy and disturbing scene where Leigh is terrorized in an abandoned motel by a group of thugs led by a leather-jacketed Mercedes McCambridge presages David Lynch; there are numerous flourishes throughout that are light-years ahead of anything else going on in American cinema at the time. Welles famously despised the studio’s original 96-minute theatrical cut; there have been nearly half a dozen re-edited versions released since 1975.
The Wages of Fear / Sorcerer -The primeval jungles of South America have served as a backdrop for a plethora of sweat-streaked tales (Werner Herzog’s Fitzcarraldo and Aguirre: TheWrath of God come to mind), but Henri-Georges Clouzot’s 1953 “existential noir” sits atop that list.
Four societal outcasts, who for one reason or another find themselves figuratively and literally at the “end of the road”, hire themselves out for an apparently suicidal job…transporting two truckloads of touchy nitro over several hundred miles of bumpy jungle terrain for delivery to a distant oilfield.
It does take some time for the “action” to really get going; once it does, you won’t let out your breath until the final frame. Yves Montand leads the fine international cast. Clouzot co-scripted with Jerome Geronimi, adapting from the original Georges Anaud novel.
If you’ve already seen The Wages of Fear, you might want to check out William Friedkin’s 1977 action-adventure Sorcerer, which was greeted with indifference by audiences and critics upon initial release. Maybe it was the incongruous title, which led many to assume it would be in the vein of his previous film (and huge box-office hit), The Exorcist. Then again, it was tough for any other film to garner attention in the immediate wake of Star Wars.
At any rate, it’s a well-directed, terrifically acted “update” of Henri-Georges Clouzot’s 1953 film noir (I refer to it as an “update” in deference to Friedkin, who bristles at the term “remake” in a letter from the director that was included with the 2014 Blu-ray).
Roy Scheider heads a superb international cast as a desperate American on the lam in South America, who signs up for a job transporting a truckload of nitroglycerin through rough terrain. Tangerine Dream provides the memorable soundtrack.
Greg Sargent at TNR makes an important observation about why the polls remain so close:
A new Marist poll takes the novel step of asking registered voters which is more off-putting in an occupant of the Oval Office: dishonesty or excessive age. The results are surprising, and along with other polling along these lines, it should influence how Joe Biden’s and Donald Trump’s relative qualifications for the presidency are covered from here on out.
The poll asked: Which is more concerning in a president, someone who doesn’t tell the truth, or someone who might be too old to serve? The results were lopsided: By 68 to 32 percent, respondents were more concerned about the lying than the aging. Given the relentless media focus on presidential age of late, that’s simply remarkable.
While the poll doesn’t directly compare Trump and Biden on that particular question, it also finds that 52 percent of Americans say Biden has the “character to serve as president,” whereas only 43 percent say this about Trump. Fifty-six percent say Trump lacks the character to serve, which surely reflects public perceptions of Trump’s dishonesty.
[…]
Voters grasp Trump’s world-historical levels of dishonesty. This week’s Pew poll found that only 36 percent of voters view Trump as “honest.” By contrast, 48 percent view Biden that way—not good enough, clearly, but Biden’s large advantage here is especially notable given that as president, he has been subjected to a far harsher media spotlight for the last four years.
What the new Marist poll adds to this debate is the idea that voters see excessive lying as a serious problem in a president. Yet ask yourself this: How often is Trump’s lying covered that way? Trump’s dishonesty is rarely treated as a sign of his temperamental unfitness for the presidency. Biden’s age, of course, is constantly covered as an important factor in determining his fitness for the office. Biden’s age should be covered this way, to be clear. But so should Trump’s relentless lying.
The key distinction here is between mental unfitness for the presidency (where Biden does very badly, relative to Trump), and temperamental unfitness for that majestic office. On the latter, Quinnipiac found earlier this year Biden does significantly better than Trump does, with an extraordinary 61 percent saying Trump is temperamentally unfit for the presidency.
Temperamental unfitness also matters! And honesty is central to that.
He goes on to ask how the news media could improve its coverage of this in a way that frames it as the threat it really is, admitting that it’s not easy. News analysis that discusses this with the seriousness it deserves would be a good start. And as he says, the one thing it should stop doing, right now, is treating it as “savvy or well-executed politics.”
At his marathon rallies, Mr. Trump, using a teleprompter but often going on riffs without it, speaks for upward of 90 minutes. He tells outrageous lies. He employs hateful language. He mixes up names, dates and places.
But the bombastic former president—who at 78 is three years younger than Mr. Biden and with his heavyset frame appears far more physically imposing—does it all with prodigious stamina. Polls show that voters have fewer concerns about Mr. Trump’s age than Mr. Biden’s.
Trump spews lies and hate regularly, but, hey, he does it with an effective display of performative gusto! Oh, well—it’s all just an inevitable background condition of our politics in the Trump era. But news organizations can choose to not treat Trump’s lying this way, and find a better approach. Another problem: Media fact checks are often cordoned off from other types of stories. There has to be some way to better integrate fact-checking into the daily drumbeat of news coverage.
There’s more at the link and well worth reading.
Those questions in the Marist poll caught my attention as well. I think it’s vitally important for these pollsters to start wondering why it is that despite the overwhelming concern people have over Biden’s age, he is still tied in all the polls. It seems counter intuitive. But when you look at how people feel about Orange Hitler’s character defects, it makes more sense.
Sure, everyone wishes the candidates were younger. But both of them are old and people are more concerned about Biden’s age than Trump’s for some reason. But the race remains very close and I think it has a lot to do with the fact that Donald Trump is a lying, criminal demagogue who attempted a coup which makes him completely unfit to be president again.
This is going viral all over social media and it is hilarious. I’m sorry to say, because I’m an old person sadly attached to old fashioned communication, but this is probably a better way to reach people about policy:
