You Must Remember This: Life and Style in Hollywood’s Golden Age, by Robert J. Wagner with Scott Eyman (2014). You know you’re getting a true inside Hollywood perspective when your guide ends an appreciation of the home owned by longtime friend Harold Lloyd by remarking “I shot episodes of Switch and Hart to Hart there.”
Wagner keeps the book light but also laments the press’s current adversarial relationship with their celebrity subjects and how, with the emphasis on the bottom line, “the movie business has been converted from a long game to a short game.” But there’s little room for grousing when there are parties to attend and polo matches to play. The names from a bygone era he casually reels off – Chasen’s, Ciro’s, the Brown Derby – are still, for some of us, an incantation charged with magic, and Wagner knows how to cast the spell. He has a gentleman’s eye for refinement and strikes an effortlessly rueful tone, a pleasing combination. The book is like uncorking a bottle of wine and having one of TV’s most debonair presences regale you with stories.
Thanks largely to legal action by Friedkin against the studios involved, the situation has improved. A 4K digital restoration of Sorcerer is in limited release prior to its Blu-Ray debut. Seeing the film on the big screen confirms that Friedkin’s take on the tale of four outcasts forced to ferry volatile explosives overland is one of the most intense films ever made, with the justly-celebrated rope bridge sequence easily a masterpiece of action. It’s almost unfair to compare Sorcerer to Wages as the two are so different, but if pressed I’d give the nod to Wages – with the proviso that Sorcerer has a much, much better ending.
Stranger by the Lake (U.S. 2014). Henceforth, whenever I’m asked to provide an example of Aristotle’s unity of time, place and action – it happens more than you think – I’m pointing to this film, which won the Un Certain Regard directing prize for Alain Guiraudie at last year’s Cannes Film Festival. Unless my interlocutor objects to repeated shots of the male orgasm, in which case we’re going to have a problem. Every scene unfolds along an isolated stretch of beach where gay men come to cruise. Franck (César award winner Pierre Deladonchamps) is drawn to the spoken-for Michel, lingering to watch him – and witnessing him murdering his lover. But knowing Michel’s secret only heightens the attraction. Guiraudie turns the limited locations into an advantage, using the arrangement of parked cars not only to convey exposition but heighten suspense. Highsmith meets Camus with copious male nudity in a thriller that mesmerizes down to the calculatedly oblique ending. Here’s the trailer.