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February 06, 2019


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Jon K

I loved Gosford Park AND A Prairie Home Companion (as well as TLG), so maybe give it a try?


Coppola's THE RAINMAKER came out in late '97, and then Altman's THE GINGERBREAD MAN in early '98, and I'm still not sure what to make of "iconoclastic New Hollywood icons hoping to make some of that sweet, sweet John Grisham coin" thing, but mostly I was happy that they were working (with big budgets and big stars, to boot).

Hmmm, I wouldn't have figured you as a GOSFORD PARK-hater. Me, I love it.


Shame on me for using "iconoclastic" and "icons" in the same damn sentence, but I just got home from work, so...


"I hated Short Cuts and Gosford Park, admired Kansas City and Cookie’s Fortune, and loved A Prairie Home Companion."

Wait. What?

Chris L.

I well remember Glenn's scathing Premiere write-up of Gosford Park. The film's admirers had gone heavy on the Rules of the Game affinities, and GK dryly allowed that, yes, the two works were indeed quite similar in that both were displayed by means of celluloid being run through a projector. (Exact wording of course escapes me after so long, but it made me chortle loudly in a crowded Barnes and Noble.)

The Short Cuts disdain seems a shade more puzzling, and though I can maybe guess at some of the reasons, I'd love to read more. Altman certainly ran the gamut of critical opinion more than most filmmakers of his renown.

Andrew Del Monte

I was lucky to see My Name is Julia Ross on 35mm last summer. You'd recommended it as an important Lewis film, so thanks, since I might not have picked it out otherwise. I loved it. I love a sinister Dame May Whitty, and nothing beats George Macready losing it on that pillow. Can't wait to watch So Dark the Night.


Oddly enough, I also purchased that Invention for Destruction DVD from the Zeman Museum in Prague, along with a couple other titles, when I was there a couple years ago. They were pretty cheap from what I remember, like maybe the equivalent of $7 each?

The museum was a lovely little place, too. I loved the interactivity and how they replicated the special effects processes.


Coincidentally I just watched Arthur Penn’s DEAD OF WINTER earlier this week, which was apparently a loose remake of JULIA ROSS. I’m curious to see the original, because WINTER had one of the loopiest premises I’ve ever dropped my jaw to. Would like to revisit OBSESSION someday just to see if I can spot the scenes where Robertson was deliberately fucking with Bujold’s eyeline. And finally, I’m surprised you didn’t mention the ice cubes in OTHER SIDE OF MIDNIGHT. That was the scene we dog-eared when we passed the paperback around in 6th grade. (My other memory is that it played in Cinema II when I first saw STAR WARS; it sold nary a ticket until the space movie sold out.)

Love reading these guides. Thank you. I’m a little bummed there was no Karswell calling card in my blu-ray packaging — but perhaps I should be grateful.

That Fuzzy Bastard

While I may be a little shocked by our host's dislike of GOSFORD PARK, I'm just happy to know there's someone else out there who likes KANSAS CITY, one of my favorites from the really pretty excellent Altman 90s.


Okay, GRISSOM GANG is utterly brilliant, one of Aldrich's most quintessential films. Try watching it again--but this time keep in mind that it's a COMEDY.

James Keepnews

Gosford Park would have been totally formulaic exercise in a conventional director's hands, sure. But. Exactly. I think it's truly Altman's final masterpiece, although I admittedly never did see APHC, largely for the same reasons I dared not ever listen to it. I think both Gingerbread and Cookie's are half-baked (sorry/not) -- in my New Haven Advocate Altman obit, I remarked that the opening credits sequence flying over the Georgia keys was GM's most interesting scene and that Glenn Closes's manically dolly-ed (spoiler alert) breakdown scene in CF was, to put it mildly, unconvincing. I didn't mention Ned Beatty's fatuous "Because I fish with him" line, because he says it twice in the film and I heard him twice the first time.


I'm dying to watch KANSAS CITY again. I also think GOSFORD PARK is a masterpiece, and Glenn's hatred of it (which I've known about since reading his review in Premiere way back when) has always bewildered me. I mean no disrespect, of course. I just can't wrap my head around it.


As I recall, Altman described 'Kansas City' as his favourite, or one of his favourites, among his films.

Which is the more agonising Branagh accent, 'Gingerbread Man' or 'Celebrity'?

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