In the movies, romances fail for reasons of class, money, scandal, race, death, noble sacrifice or—more recently—fear of commitment. Shopgirl may be the first Hollywood love story in a long time to revolve around the inability to love.
Whenever Hollywood has tackled the subject of Joseph McCarthy and the work of the House Un-American Activities Committee, the results have tended to be fatuous if not downright embarrassing. George Clooney breaks through the barrier in Good Night, and Good Luck, a compelling portrayal of the last days of McCarthy’s influence.
Based on Gerald Clarke’s exhaustive biography, Bennett Miller’s Capote covers the six years that Truman Capote spent working on In Cold Blood. The film begins at a noisy New York cocktail party where Capote is the center of attention, regaling his friends with humorous anecdotes and observations.
So that things contrary to common sense Seem suddenly truth revealed And some unappealing sight Is clearly Imago Dei, devilishly alight As though lit within at core By the very darkness we abhor And symbols of my soul’s best hope are cast As models of betrayal, despair and death; Then, Eve’s fruit tasted and offered to Adam Becomes Mary’s Gift as First Fruit Of a new covenant of pardon And the abandoned Garden Because of Him Becomes the New Jerusalem;
So, let that mind be also in me, The one that takes in my off-stage acts, You know, Those walk-the-walk naked facts, Even my sneaky judas-pacts And transforms them all Into something nothing short of new, Like being born, Like out of any godforsaken Friday Easter morn.
When Toni Morrison taught creative writing at Princeton University, all her students had been told in previous classes to write about what they knew. She said to forget that advice because first, they didn’t know anything yet, and two, she didn’t want to read about their experiences. She told them to imagine people outside their own experience, such as a Mexican waitress in Rio Grande who could barely speak English. It was amazing what these students came up with, Morrison said, when they were given license to imagine something outside their realm of experience (American Theatre, March 10).