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Meanwhile overseas, the French New Wave had shattered every convention known to man.

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Dennis Hopper was stoned out of his mind and unable to remember his lines, and supporting actors like Sam Bottoms dropped acid and speed throughout the production.

Perhaps most problematic was Coppola himself, who was filled with enough hubris after the success of the two Godfather films that he tried to tackle material that had licked even the great Orson Welles, who wound up doing Citizen Kane instead.

If you won’t take it from me, take it from Billy Wilder: “When people try to belittle The Exorcist or Jaws, I just think these people are crazy. Spielberg knows exactly what he did, and he did it brilliantly.” And so, let’s all come to grips with a simple fact: Jaws is not only massive entertainment, it remains one of the best directed movies ever made. The title and title song of “High Noon” tell us everything we need to know about Fred Zinnemann’s western masterpiece.

If you look at our website’s banner in this context, there are fins to the left, fins to the right, and it’s the only shark in town. Just 13 percent of American feature films used a “title song” between 1950-1954, but the number grew to 22 percent over the next five years, and reached 29 percent by the late ’60s.

Despite being preoccupied with a gambling addiction, Detroit genuinely loves his girlfriend, Adelaide (Vivian Blaine), and argues that women are a necessity.

Masterson, on the other hand, contests that women “are something to have around only when they come in handy, like cough drops.” When Masterson finally asserts that “all dolls are the same” and easily wooable, Detroit pounces on the chance to win some much-needed dough to set up his latest crap shoot. Like the Pacino-De Niro showdown in Heat (1995), the diner scene is an iconic duel between two of the era’s biggest stars. But for a close relationship that can last us through all the years of our life, no doll can take the place of aces back to back.” This is the advice given by wiseguy Sky Masterson (Marlon Brando) to his crap-game colleague Nathan Detroit (Frank Sinatra) in an early restaurant scene from Guys and Dolls, a tale of crooks, cons and courtship, all emanating from the bustling streets of Times Square. I loved what they created, and I thought something would happen to me, too. Continue reading “The companionship of a doll is a pleasant thing, even for a period of time running into months. It reaches in and opens you wide, and you stay that way. I came to Paris to study and to paint because Utrillo did, and Lautrec did, and Roualt did. Standing in for Paul Heinreid’s Victor Lazlo in this case is Henri Baurel (Georges Guetary), who completes the love triangle of An American in Paris as both Jerry’s good friend and Lise’s fiance.(A) More importantly, it sets up the film’s central thematic debate — whether it’s best to be a player or to settle down with true love.

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