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Friday, May 30, 2008
10 movies sure to make a man cry
The Atlanta Journal-Constitution
All the “Sex and the City” this and “Sex and the City” that. OK, ladies, have your weekend. But you’re always saying that guys can’t relate, they can’t emote, they can’t show feelings, they just don’t understand.
Well, men do cry. I’ve seen it. I’ve done it.
Here are 10 movies and the moments that flip the duct switch to on:
1. “Rudy” (1993) — Especially when Sean Astin as the title character sits down on the bench and reads the acceptance letter he finally receives to go to Notre Dame. But also when he’s carried off the field.
2. “Brian’s Song” (1971) — When Billy Dee Williams as Gayle Sayers utters the immortal words … “I loved Brian Piccolo.”
3. “Field of Dreams” (1989) — Are you kidding me? It’s when Ray asks his father to play catch.
4. “Old Yeller” (1957) — I’m tearing up now just thinking about Tommy Kirk having to stand there with that gun.
5. “Saving Private Ryan” (1998) — It’s not really the cemetery stuff or Ryan being told he needs to “earn this.” The part that gets to me is watching Giovanni Ribisi’s medic character die.
6. “Glory” (1989) — The tragedy and cultural pain of it all is so intense — from the flogging of Denzel Washington to the final sequence when the soldiers in freeze frame face the fort’s cannon.
7. “E.T. the Extra-Terrestrial” (1982) — I’m a sucker for “I’ll be right here!”
8. “To Kill A Mockingbird” (1962) — For me, it’s the narration of the older Scout when she says, “One time Atticus said you never really knew a man until you stood in his shoes and walked around in them; just standin’ on the Radley porch was enough.”
9. “The Natural” (1984) — Roy Hobbs hits a home run. And that’s cool. But I think it’s Randy Newman’s astounding music as Hobbs rounds the bases in slow motion that seals the deal.
10. “Testament” (1983) — It’s when, in the wake of nuclear destruction and pain and tragedy, the parents gather and watch their grade-school kids perform a play.
What are the movies that make you cry?
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Some films need a hand finding their audience
The Atlanta Journal-Constitution
Dear Mr. Smithee,
When “The Matrix” came out, everyone made a big deal about its unusual visual and philosophical themes, but I’ve been a fan of “Dark City,” which came out a year earlier, and I think that in both cases there’s much more to be said for “Dark City.”
The fact that there was such a larger reception for the “Matrix” series makes me think that, while people say they are interested in it for the originality of its aforementioned themes, it is more that they were wowed by the special effects and action.
Would you agree?
ANDREW BLISS, Atlanta
Dear Defender of the Strangers,
So, Andy, in other words you fault people for preferring to go see the well-known Keanu Reeves and Laurence Fishburne in a complicated, often dark but exciting sci-fi drama instead of choosing to see the unknown Rufus Sewell and pre-“24” Kiefer Sutherland in a complicated, decidedly dark but still exciting sci-fi drama?
The reality of the two films’ polar popularities probably has more to do with marketing muscle than anything else. “Dark City,” with its moving skyscrapers and real-life veneer, came from then teeny-tiny New Line whilst “Matrix” was trumpeted by Warner Bros.
I can’t totally fault the multitude for not fully appreciating a film they never bothered to see. But I can fault them for being so completely unaware. “Dark City” is like “Donnie Darko.” The former deserved to have the same intense cult following on DVD as the latter.
In many ways, “Dark City” is far superior to “Matrix.” What “Dark City” does have is a tremendous supporting performance from Sutherland (even though I realize his character’s unusual tics certainly ticked off some moviegoers). It has more ominous villains and a more difficult plot to sift through for answers.
“The Matrix” had some of the most compelling, otherworldly action sequences I’ve ever seen. On that level, it’s far superior to “Dark City.”
In your view, it all comes down to originality. Who was first?
Well, in that case, it’s “Metropolis.” Or “The Wizard of Oz,” which long before your two movies asked onlookers to “pay no attention to that man behind the curtain.”
ALAN
P.S. You get a “Get Smart” cap and T-shirt.
Dear Mr. Smithee,
I do hope you can give me an answer.
In the 1960s or ’70s, there was a film on TV about a young boy who had many problems, one of which was wetting the bed. Stay with me. The young actor looked so much like the fellow who plays “Frazier’s” brother (David Hyde Pierce).
Can’t give you much more information except the boy’s mother embarrassed him by hanging his wet sheets out the window to teach him a lesson.
Any idea who this young actor was?
IRIS ROSS
Dear Waterlogged,
Personally, I don’t think David Hyde Pierce looks anything like Lance Kerwin, who starred in the 1976 TV movie “The Loneliest Runner,” the tale of a 13-year-old who suffered from a bed-wetting problem and was subjected to public humiliation by his mother.
As an adult, the character is played by Michael Landon of “Bonanza” and “Little House on the Prairie” fame. He directed “The Loneliest Runner,” too.
Landon’s birth name was Eugene Orowitz, and as a teenager his mother used to punish him for wetting his bed by hanging the unwashed sheets on a clothesline for all the neighbors to see.
According to www.wetbuster.com, Landon’s mom would also sometimes tie parts of the sheets to him.
By the way, Kerwin’s best film was “Salem’s Lot” (1979), one of the scariest made-for-TV movies ever.
ALAN
P.S. You get a “Kung Fu Panda” plush figure and book.
SPECIAL NOTE TO A SPECIAL READER: I must say, Robert Newman, nice try by signing your letter Vivian Darkbloom as though I might not notice a reference to “Lolita.”
But I was indeed thrilled by your salutation: “Dear Al (Please, it’s Alan. If I bring home Capone or Jolson, it’s Al).”
To that, I simply must reply, “Welcome to my humble chapeau!”
HAVE A QUESTION FOR MR. SMITHEE?
E-mail him at alansmithee@ajc.com or go to accessAtlanta.com and click on Movies. Please include your name, city and daytime phone number. Mr. Smithee can’t reply to every request, but inquiries chosen for publication will receive movie-related prizes.
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