Gale: My name’s Gale. What can I fix you?
Joseph Frady: I…
Gale: How about a Martini? You know what they say about Martinis? A Martini is like a woman’s breast. . .one ain’t enough and three is too many.
Joseph Frady: That’s an amazing joke, Gale.
Gale: Yeah, it is. What can I get you?
Joseph Frady: Just a glass of milk.
Gale: You’re the healthy type, huh?
Wilma Dean: Bud, Bud. . .I just can’t stand it when you’re mad at me.
Bud: Oh, Deanie, I don’t know what’s the matter with me lately. I’m always losing my temper. You’re the only girl in the world for me, don’t you know that, Deanie?
Wilma Dean: I want to be.
Bud: If it weren’t for you. . .If it weren’t for you, Deanie, I’d. . .I don’t know. . .I. . .
George Roundy: You ever listen to women talk, man? Do you? Cuz I do til’ it’s running out my ears. I mean, I am on my feet all day listening to women talk and they only talk about one thing: how some guy fucked them over. That’s all that’s on their minds. That’s all I ever hear about. Don’t you know that?
Lester Karpf: I follow your thinking on that.
George Roundy: I mean, face it. We’re always trying to nail them and they know it. They don’t like it. They like it and they don’t like it.
I actually discussed Bonnie and Clyde a little bit in my article last year about 1967 and how it was the year that Old Hollywood became New Hollywood (I actually discuss all five Best Picture nominees from that year, as well as In Cold Blood), so I was reluctant to revisit 1967 for awhile. But I wrote that article over a year ago now, so I guess it’s time to revisit 1967 after all. I remember when I first saw this film it completely blew me away and upon every revisit I remain in awe of what an utterly amazing feat of filmmaking prowess is on display here. I saw an interview with Arthur Penn, I believe, where he talked about how he decided he wanted to shoot the picture in color because he wanted it to feel modern. They weren’t making a documentary of Depression Era America. This film was going to feel as modern as it possibly could, without being avant-garde. I think Penn accomplished just that, and made it just modern enough to feel timeless, actually. The film was nominated for nine Academy Awards, winning two: Best Costume Design, Best Cinematography (won), Best Supporting Actor Gene Hackman, Best Supporting Actor Michael J. Pollard, Best Supporting Actress Estelle Parsons (won), Best Actor Warren Beatty, Best Actress Faye Dunaway, Best Original Screenplay, Best Director and Best Picture. The other films nominated for Best Picture that year were Doctor Dolittle, The Graduate, Guess Who’s Coming To Dinner and winner In The Heat of the Night.
Heaven Can Wait is one of my favorite romantic comedies, though I don’t really want to box it into that genre. It’s more than just a run-of-the-mill rom-com. It’s a meditation on life and love and the pursuit of happiness. It’s also a little bit sci-fi and a little bit sports. Basically, it’s a mix of a lot of great things all in one perfect 101 min film. It lost to The Deer Hunter and I’m not even going to try to argue that that was the wrong choice, because I don’t think it was. The Deer Hunter was definitely the right choice; I just really love Heaven Can Wait and feel like not nearly enough people have seen it. It was nominated for nine Academy Awards, including Best Original Score, Best Cinematography, Best Art Direction (won), Best Adapted Screenplay, Best Supporting Actor Jack Warden, Best Supporting Actress Dyan Cannon, Best Actor Warren Beatty, Best Director and Best Picture. It was up against Coming Home, Midnight Express, An Unmarried Woman and winner The Deer Hunter.
I actually watched 68 new-to-me movies in August altogether, which I believe is a record for me. 46 of them, however were on Turner Classic Movies’s Summer Under The Stars. There were several days where I watched between four and six films all in a row on TCM. There were even some days where in the midst of watching new-to-me films I watched some old favorites as well. I discovered at least one old film star I’d never known about and now love. I finally watched some essential classic films that had somehow escaped me up until now. I watched a few films that were pretty forgettable and I discovered some films that I will love forever. Overall, it was a wonderful journey of film immersion for someone who loves film down to her bones, and now I don’t know what do to with my life until next August.
Lyle Rogers: What a smuck I was…
Chuck Clarke: Schmuck! It’s not smuck. Schmuck!
Lyle Rogers: Smuck!
Chuck Clarke: [loud] Schmuck!
Lyle Rogers: Sssssssssmuck!
Chuck Clarke: Say “ssshhhh”
Lyle Rogers: Ssshhhhhh.
Chuck Clarke: Now say “muck”.
Lyle Rogers: [soft] Muck.
Chuck Clarke: Now say “ssshhh” and “muck” together real fast.
Lyle Rogers: Smuck!
Chuck Clarke: …Closer.
Lyle Rogers: You really know the lingo.