Robert Rossen, 1964) | Screens with Dave Fleischer's MINNIE THE MOOCHER | 35mm | 8/20 & 8/21 Boaz Davidson, 1982) | Screens with Seymour Kneitel and James Tyer's PUPPET LOVE | 35mm | 8/19 & 8/25 Ralph Bakshi, 1973) | Screens with Chuck Jones's RABBIT OF SEVILLE | 35mm | 8/24 & 8/25 Robert Downey, Sr., 1972) | Screens with Friz Freleng's RABBIT EVERY MONDAY | 35mm | 8/20 & 8/22 Frank Tashlin, 1955) | Screens with Frank Tashlin's SWOONER CROONER & Jerry Lewis’s THEATER CHAIN OUTTAKES | 35mm | 8/20 & 8/23 Owen Kline’s Mystery Reel | 35mm | 8/19, followed by a Q&A with Kline Join Owen Kline in person on Friday, August 26! Q&A at the 6:15pm screening and intro at the 8:45pm screening. Owen Kline) | Opens August 26 | 🎟️: /funny Tickets to Animating Funny Pages, taking place August 19-25, are now on sale at /kline It is a smart, supremely watchable and entertaining film, and Close gives a wonderful star turn.FUNNY PAGES director Owen Kline has handpicked an assortment of films that influenced the world to which his hilariously dark, pleasantly unexpected debut belongs. The final plot turn can be read as a parable for patriarchal politics and the artist’s prestige: when people read novels, they are not merely responding to a text, they are consuming the artist’s prestige and reputation, which is itself a created performance.
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Yet for all Bone’s investigative excitement, the movie shows he still does not fully understand the truth about them, and perhaps Joan has herself not fully understood the nature of her wifely submission until that moment. The intrusive and insistent Bone thinks he has figured out the secret of Joe’s success and that of their troubled marriage. Shrewdly, she puts Joe’s manuscript forward and his journey to greatness has begun. Later she gets a job as a reader in a publishing house whose smug and cynical editors are looking for “a Jewish writer”. The film shows how Joan’s own literary ambitions began to wither in that sexist time and place: Elizabeth McGovern has an amusing cameo as an embittered minor author who advises her to give it all up. Joe continues to stray, right up to the Nobel ceremony – and the film’s present-day section is set in the Clinton 1990s, when denying having sexual relations with younger women had become a political trope. Things go as expected and soon Joan is wife number two, with a perennial suspicion that as Joe’s eye once roved to her, it could rove on to other people. She flirts, babysits his children and submits an outrageously seductive short story to his class, entitled The Faculty Wife. Joe’s moment of Nobel triumph appears to be triggering a late-life crisis in Joan.įlashbacks to the 1950s and 60s show her as a co-ed taking a creative writing class with the young, insufferably pompous and married Professor Joe Castleman – who has himself only published minor short stories. Yet everyone is aware of a difficult truth despite Joe blandly telling people at these cocktail parties that his wife “doesn’t write”, Joan had her own literary ambitions as a young woman. Is Joe succumbing to dementia?Īnd of course Close plays Joan, a woman much loved and admired within Joe’s circle of acquaintance: supportive helpmeet, mother – soon to be grandmother – and deeply affectionate spouse, apparently happy with a life lived in the titan’s shadow. And there is an unsettling moment in his Stockholm hotel suite when the great man appears not to recognise the name of one of his own characters. Max Irons plays Joe’s moody son David who also has plans to be writer, desperately needing the old man’s approval and yet prickly and resentful at Joe’s sorrowing criticisms of his work – criticisms which do not convey any great reassurance that his son has chosen the right career. Christian Slater is the insidious and dangerous Bone. Jonathan Pryce is excellent as the cantankerous and conceited old writer, a man now childishly addicted to praise and luxuriating in his colossal quasi-Bellow reputation. It is a key moment in this hugely enjoyable drama when things begin to fall apart. Joe gives him the contemptuous brush-off but Joan cautiously advises a more diplomatic treatment. Yet they are being pestered on the flight by a certain Nathaniel Bone, part stalker-fan, part parasitic hack who wants Joe to cooperate with a warts-and-all biography he is planning to write. The Castlemans are on the plane to Sweden, ready for Joe to get the Nobel prize.
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