Posts Tagged ‘Bob Balaban’

Gigolo meets Hasidic widow. Oddity ensues in John Turturro’s new movie.

June 12, 2014

By Matthew E. Milliken
MEMwrites.wordpress.com
June 12, 2014

Against all odds, Fading Gigolo is an oddly a strangely charming feature starring, written and directed by John Turturro.

The film hinges on three relationships. One involves Turturro’s character, a lonesome jack-of-all-trades with the unlikely name Fioravante, and his longtime friend and mentor, Murray (Woody Allen). Murray is closing down the New York City rare bookstore that was started by his grandfather and has been in the family ever since, a transition that leaves “Mo” at loose ends. A joking exchange with his rich, glamorous and randy dermatologist, Dr. Parker (Sharon Stone), who longs for a ménage à trois, prompts Murray to persuade his buddy Fioravante to become a prostitute.

The sophisticated but taciturn Fioravante is a reluctant gigolo; still, women love his quiet confidence, dark looks and trim body. Mo proves to be an enthusiastic pimp. Within moments, thanks to the power of montage, he’s recruited a variety of clients, and the boys are soon rolling in money.

One of the clients is Avigal (Vanessa Paradis), an Orthodox Jewish widow whom Murray meets while she combs through the lice-infested hair of his stepkids. Although her community’s strict customs forbid a man from riding in the back seat of an automobile with her, and bar women from displaying their real hair in public, Avigal travels to Fioravante’s apartment for a massage. The tightly wound single mother sheds tears when Fioravante’s bare hands gently touch her skin.

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George Clooney’s arty party can’t quite come together in tale of ‘The Monuments Men’ of World War II

February 8, 2014

By Matthew E. Milliken
MEMwrites.wordpress.com
Feb. 8, 2014

A sequence in The Monuments Men captures the key problem with the new feature directed, co-written by and starring George Clooney.

As sculptor Walter Garfield (John Goodman) and Jean Claude Clermont (Jean Dujardin) are questioning a clergyman about the fate of historic artwork stolen by the Nazis, a sniper begins shooting at them. Garfield and Clermont comically argue about which of them will provide suppressive fire and which will attempt to infiltrate the structure where the gunman is located. After that matter is settled, Clermont races toward a gutted building as Garfield covers him.

Once the Frenchman is inside, his fate comes down to whether he can outfox — and outshoot — the sniper. Clermont advances to the second floor, hugs a door frame and pivots, rifle-muzzle-first, into the space that he thinks contains the shooter. It’s empty.

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