Passages

[HerrSchreck]

She died like two weeks ago.

I love how conceptually avant Planet was, particularly for fucking MGM of all places. It's niggling of course, but her hubby Lou co-scored it with her.

Amazing how rampant the idiocy and cultural backsightedness within the academy (not to mention the union) with the inability to recognize the score as "a score" for noms/voting. But a touchstone in the annals of film scoring. It's just a great film all around and in every way. I can even tolerate Nielson!

[Dylan]

The two biggest complaints I hear about Forbidden Planet is that the score should've been orchestral and that the ID should've been stop-motion animation. While the cartoon animation is interesting but not up to par with Ray Harryhausen or Jim Danforth (or the like), I enjoy the electronic score and always thought it added a unique texture to the film (not that I would be opposed to Herrmann or Rozsa having done it instead). I love the matte shots and sets, and the woman's lovely.

[miless]

Not a filmmaker, but important nonetheless, Robert Rauschenberg died yesterday at the age of 82

[toiletduck!]

Not a filmmaker, but important nonetheless, Robert Rauschenberg died yesterday at the age of 82

Fuck.

That hits hard. I'm a little speechless right now.

-Toilet Dcuk

[Person]

"I work in the gap between art and life."

In addition to being a unique creative talent, he was one of the great optimists of the 20th Century. He lived an authentic life and inspired innumerable individuals to reimagine the world by reworking its objects.

[Hopscotch]

Anyone catch the Rauschenberg tribute on NPR today?

[Rufus T. Firefly]

To bring this back on topic:

John Phillip Law, 70; actor played blind angel in 'Barbarella'

By Claire Noland, Los Angeles Times Staff Writer

John Phillip Law, a tall, blond actor who cut a striking figure as the blind angel opposite Jane Fonda in 1968's "Barbarella" and in other film roles, has died. He was 70.

Law died Tuesday [May 13, 2008] at his Los Angeles [California] home, his former wife, Shawn Ryan, said. The cause of death was not announced.

Born in Los Angeles on September 7, 1937, to L.A. County [Los Angeles County, Caifornia] Sheriff's Deputy John Law and actress Phyllis Sallee, Law decided to become an actor after taking drama classes at the University of Hawaii.

He moved to New York [New York] in the early 1960s, studied with Elia Kazan at the Lincoln Center Repertory Theater and landed bit parts on Broadway. He went to Europe and found work in a handful of Italian films, where he caught the attention of Norman Jewison. The director cast Law as Alexei Kolchin, a young Soviet submariner who wins the heart of a teenage baby-sitter in "The Russians Are Coming, the Russians Are Coming," his 1966 Cold War comedy set in New England.

Law's next break came in Roger Vadim's science fiction fantasy starring Fonda, who was then married to the director. Equipped with oversize, feathery wings, Law's bronzed angel, Pygar, shields Fonda's gun-toting, go-go-boot-wearing heroine in her intergalactic adventures.

After gaining notice for his roles in "Hurry Sundown" (1967), "The Sergeant" (1968) opposite Rod Steiger, and "The Red Baron" (1970), Law starred as the ruthless Robin Stone in "The Love Machine," a 1971 version of Jacqueline Susann's pulp novel. The movie flopped.

Law, who mastered Italian and Spanish in his European travels, worked steadily in Hollywood and abroad, appearing in such action-adventure movies as "The Golden Voyage of Sinbad" (1974), "The Cassandra Crossing" (1977) and "Tarzan the Ape Man" (1981), among others. He also had a stint playing Jim Grainger on the daytime television drama "The Young and the Restless."

At the beginning of his career in the '60s, Law lived in a 1924 Los Feliz mansion with his brother, Tom, who had been the road manager for Peter, Paul and Mary. The brothers rented rooms to up-and-coming singers and artists, including Bob Dylan, Andy Warhol and Tiny Tim, turning the home into a vibrant salon of emerging pop-culture icons. Life at the Castle, as it was known, was documented in "Flashing on the Sixties," a 1987 collection of photos and text by Tom's former wife, Lisa Law.

Besides his brother, Law is survived by daughter, Dawn, and a grandson.

[miless]

To bring this back on topic

Rauschenberg is easily one of the most important artists of the 20th century (the most important being Duchamp)

I think a small mention of his death, and subsequent short discussion, is warranted.

[Rufus T. Firefly]

To bring this back on topic

Rauschenberg is easily one of the most important artists of the 20th century (the most important being Duchamp)

I think a small mention of his death, and subsequent short discussion, is warranted.

It would be more appropriate in the Non-Cinema Arts section rather than Old Films. However, I do realise the futility of pointing out irrelevancies or digressions on this forum, and will attempt to desist from such comments in future, at least until it happens again.

[colinr0380]

Tim Lucas tribute, and another.

[Barmy]

Only a freak would give a shit about Rauschenberg in the wake of JP Law's premature death.

[miless]

I guess I be a freak.
break out the baby oil, kiddie pool, the Olsen twins and Armond White... there's going to be some kinky shit goin' on.

[domino harvey]

Death socked it to Dick Martin.

[John Cope]

Apparently Sydney Pollack just died but I can't find much corroboration.

[miless]

Apparently Sydney Pollack just died but I can't find much corroboration.

the wikipedia page has the date set to today, but no news stories.

[Saturnome]

NY Times on Pollack

[domino harvey]

Damn, he was a good director and was great as an actor in Husbands and Wives

[miless]

LA Times: Sydney Pollack, 73; Oscar-winning director and producer

And although many people have stated their dislike of his performance in Eyes Wide Shut, I'll have to say that I really think he was well suited for that role. He seemed like he could be that 'nice rich guy' friend, who's just smarmy and disgusting when you learn who he really is (not the real him, but his character).

[tavernier]

He was also great in Tootsie, EWS and Michael Clayton.

RIP.

[Cronenfly]

I always liked him more as an actor than a director, and even though I've never been a huge fan of his in either capacity, I'm still sad to see him go. RIP.

[Oedipax]

Damn, that's unexpected. He was great as recently as Michael Clayton and seemed like he'd be around for a long time to come. I'll agree that I liked him more as an actor than a director.

[flyonthewall2983]

I thought he was great in a very darkly humorous way on The Sopranos, his character talking about how he murdered his wife, the maid and the mailman with as much ease about talking about his day.

[Barmy]

Kudos if only for saving us from a Keitel perf in a Kubrick flick. Nice guy (I guess); dull flix.

[Antoine Doinel]

Sad news about Pollack. Of course he'll be missed as an actor and director, but he also threw his name into films as a producer or executive producer throughout the past ten or fifteen years into a wide slate of strong work by some great talent.

[Dylan]

He was wonderful in Husbands and Wives. A compelling, witty, naturalistic performance. I liked him in Eyes Wide Shut, as well.

I haven't seen too much of his directing, but They Shoot Horses, Don't They? is a great film. What I love about it most of all is that it's all a big allegory for the time period (the Depression), based on an activity (dance marathons) that only existed at that time. Everybody in it is very good, too - I'd say it's Jane Fonda's greatest work, and Gig Young won an Oscar. It's also beautifully photographed by Philip Lathrop and I think Pollack did a pretty wonderful job directing as well.

He directed what was by and far the greatest scene in the pretty good film adaptation of John Cheever's magnificent The Swimmer (helmed, aside from Pollack's one scene, by Frank Perry). It's been years since I've seen Out of Africa, but I remember it being well-performed and beautifully photographed, with one of the greatest scores of the eighties (by John Barry).

And if we go way back, he was pretty good as the lead in the Alfred Hitchcock Presents episode The Contest for Aaron Gold, which was based on a Philip Roth story.

I haven't seen Michael Clayton, but I sure haven't heard anything negative about it, so I'll catch it eventually.