3 things about Luis Buñuel’s THE DISCREET CHARM OF THE BOURGEOISIE

The Discreet Charm of the Bourgeoisie [1972]

1. “Did you see that? That was precisely not the way to drink a dry martini.”
“You’re being hard on Maurice,” she protests. “He’s a commoner. He’s uneducated.”
Then Don Rafael injects, “No system can give the masses the proper social graces. But you know me, I’m not a reactionary.”
2. After the bishop shoots the dying man, he vanishes from the movie.
3. The street is a set, painted flats for storefronts. We hear traffic noises and an endlessly pealing bell.

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3 things about Ridley Scott’s ALIEN: COVENANT

Alien: Covenant [2017]

1. How many times do we need to see the floating head?
2. Rooms of hanging papers crackling in a breeze.
3. Crane crush.

Pfft.

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The end of the return of TWIN PEAKS.

I’m still digesting what I saw last night; I will probably be digesting what I saw last night for a long, time time. I’m deeply shaken in a way that feels both frightening and wondrous. In a day and age where we’re hypersaturated with “content” every waking moment, it’s become increasingly rare for a work of imagination to completely take hold of me and really change the way I experience life. Twin Peaks: The Return has certainly done it though.

This much has still not changed after 25 years: I’ll journey down whichever lost highway David Lynch chooses to take. Yet, I kind of hope there isn’t any more Twin Peaks forthcoming. Either Lynch will create something new, or this was his magnum opus and he’ll retire. You know what the last half of Part 18 reminds me of? The last few moments of Buñuel’s That Obscure Object of Desire. Mathieu and Conchita watch through a store window as a woman sews, mending a dirty and torn garment. He says something to her and she reacts, angrily, but we can’t hear them. They walk away and then a terrorist bomb goes off. Apparently killing them? The End. Buñuel could have made another film, he lived several more years, but he didn’t. I think he knew it would be his last. Perhaps wanted itto be. Maybe Lynch feels the same way. Or, just maybe, he has more stories to tell. In any case, Twin Peaks: The Return … what a beautiful, extraordinary enigma.

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3 things about Nick Broomfield and Rudi Dolezal’s WHITNEY: CAN I BE ME

Whitney: Can I Be Me [2017]

1. The difference between success and fame.
2. Sitting in front of Barry White at the Soul Train Music Awards.
3. Cat in the Hat Comes Back nightshirt.

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3 things about Joseph Sargent’s THE TAKING OF PELHAM ONE TWO THREE

The Taking of Pelham One Two Three [1974]

1. “What’s the matter with everybody? How many hijacked trains we got?”
2. Tony Roberts: “We’re tryin’ to run a city, not a goddamn democracy!”
3. Looking at his mig shot: “Giuseppe Benvenuto, alias, heheh, Joe Welcome.”

3 other things.

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3 things about Don Siegel’s CHARLEY VARRICK

Charley Varrick [1973]

1. Poster at the whorehouse which reads “SIN BIN.”
2. He shoves the wheelchair towards the wall, where it slams into a pile of boxes.
3. The car almost doesn’t start but he never looks perturbed.

3 other things.

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3 things about Robert Zemeckis’s DEATH BECOMES HER

Death Becomes Her [1992]

1. Mad and Hel.
2. The way Isabella Rossellini says, “But keep your ass handy.”
3. Visual quotation of The Wizard of Oz.

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3 things about Michael Winterbottom’s THE TRIP TO SPAIN

The Trip to Spain [2017]

1. Life-affirming butter (LAB).
2. “My name isn’t Roger Muslim. It’s Roger Moor.”
3. Missing his own son, he asks the owner’s son how old he is.

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November 4. Write it in your diary.

Be there or be square!

Saturday, November 4 at 8:30pm
Barry Gifford & Jason Adasiewicz
Constellation, 3111 N. Western Ave., Chicago

“[Barry Gifford’s book The Up-Down is] right next door to perfection.” —David Lynch

To celebrate the publication of his newest book The Cuban Club, Constellation welcomes master storyteller Barry Gifford to Chicago for a reading of stories from the book accompanied by the music of Jason Adasiewicz. A masterpiece of mood and setting, character and remembrance, The Cuban Club is Gifford’s ultimate coming-of-age story, told as 64 linked tales as seen through the eyes of Roy, a kid growing up in Chicago in the 1950s and early 1960s. Gifford has been writing his Roy stories on and off for over 40 years. As part of Roy’s World, a forthcoming documentary by Rob Christopher about the stories, Jason Adasiewicz has composed his first original film score.

The evening will feature Adasiewicz (vibes), Keefe Jackson (tenor sax + bass clarinet), Josh Berman (cornet), and Joshua Abrams (bass) as they perform selections from the score in a “conversation” with Gifford and his newest stories. Signed copies of The Cuban Club will be available for purchase.

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3 things about Alan Arkin’s LITTLE MURDERS

Little Murders [1971]

1. Her hand gesture as she says, “It’s in the vermouth.”
2. One phone booth is smashed so, without missing a beat, she tries another one.
3. The hum of the subway car as it sits in the station.

3 other things.

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