I just spent 30 mins watching old clips form the first 2 Superman movies. They really are magnificent, and Christopher Reeve as Superman will never be topped. They’re a stark difference to the Marvel movies of today, they’re slow and focus on the actors and use action sparingly. There’s something genuine and wonderful about that. It’s like would food watching them, they somehow make you feel better and more relaxed. We don’t seem to have many movies like that these days.
The thing about the Avengers movies is that being superheroes is a completely abstract concept. They’re only concerned with outlandish villains. Even WWII is only about the villains hiding behind the Nazis. Real people don’t exist. That’s a lot of superhero storytelling, sure, but it shouldn’t be the whole thing.
Let’s not drift this thread too far off into another Marvel/DC movie one, we have plenty already doing that.
RIP Margot Kidder, she was great in that role.
I honestly forgot which thread I was replying in. Happy that Kidder got to clean up her life before she died. A true superhero.
I love the first ‘Superman’ film, the Smallville stuff is Norman Rockwell made into a movie, with an added Kryptonian.
The action hasn’t aged as well as the rest, and ‘Superman II’ definitely suffers as a result but those films were PERFECTLY cast. Heroes, villains, comic relief and supporting characters.
They’re milestones in cinema, superhero or otherwise.
Just to add, the movie version of Krypton remains my favourite version.
Yeah, his art is superb.
This recent missive from Roth always made me chuckle.
The full letter can be read at the link.
Tom Wolfe and Philip Roth in the space of about two weeks, man.
Roth’s American Pastoral is still one of the most vivid and powerful books I’ve ever read. I read it first time a decade ago and it is probably the last truly powerful reading experience I’ve had.
Wolfe simply wrote one of my favorite books ever: The Electric Kool Aid Acid Test. I’ve read it several times at different points in life and have always gotten so much out of it.
I don’t get the sense either person was very good in real life, but these books meant a lot to me.
That was fun.
There’s a little double-edgedness about it all, though: on the one hand, he wants to be clear that one incident in the book is not based on Anatole Broyard, but on his friend Melvin Tumin, describing this biographic incident in great detail. Then, later on, when it comes to a different aspect of the novel, he emphasises that as a writer most of the time he just makes things up and implies that people shouldn’t always speculate on real-life bases for his work:
I had no idea what it was like for Anatole Broyard to flee from his blackness because I knew nothing about Anatole Broyard’s blackness, or, for that matter, his whiteness. But I knew everything about Coleman Silk because I had invented him from scratch, just as in the five-year period before the 2000 publication of “The Human Stain” I had invented the puppeteer Mickey Sabbath of “Sabbath’s Theater” (1995), the glove manufacturer Swede Levov of “American Pastoral” (1997), and the brothers Ringold in “I Married a Communist” (1998), one a high-school English teacher and the other a star of radio in its heyday. Neither before nor after writing these books was I a puppeteer, a glove manufacturer, a high-school teacher, or a radio star.
Which is probably as good an example as any as to why it is futile to speculate about a writer’s real-life sources. Well, possibly a fun exercise, but futile if you think you can find a key to their work in a writer’s life or their influences. The work is the work.
Either way, the open letter worked as it gave wikipedia a source to quote
In the reviews of the book in both the daily and the Sunday New York Times in 2000, Kakutani and Lorrie Moore suggested that the central character of Coleman Silk might have been inspired by Anatole Broyard, a well-known New York literary editor of the Times. Other writers in the academic and mainstream press made the same suggestion. After Broyard’s death in 1990, it had been revealed that he racially passed during his many years employed as a critic at The New York Times. He was of Louisiana Creole ancestry. However, Roth himself has stated that he had not known of Broyard’s ancestry when he started writing the book and only learned of it months later.