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a la Mod:
Kristine: I don’t feel comfortable or qualified to speak for all ladies, but I think intruder fantasies are pretty common. I wanted to be into Kate as a sexually adventurous and liberated woman, but I have to say that I found her extremely vocal and almost instantaneous orgasm a little over-the-top and frantic.
Sean: In the cab?
Kristine: Yeah. That seemed like a straight male fantasy of how a horny, kinky woman would respond to “a man’s touch.” I did think the preceding scnee, with Kate cruising for anonymous sex in the museum, was awesome and convincing...
Sean: I wanted to ask if the painting she was looking at is a recognizable or iconic piece?
Kristine: Yes! That’s an Alex Katz painting she is sitting in front of, considering.
Sean: Tell me about it. It reminded me of those 1930s/’40s soap opera comic strips like Mary Worth or Rex Morgan, M.D.
Kristine: I don’t know that particular piece, but I knew it was Katz right away. He has a very recognizable style. Lots of portraits, especially of women. I think he is known for images of quiet angst. Like, a beautiful couple by a beautiful pool in a perfect L.A. setting, but instead of feeling tranquil and aspirational, it seems to reek of alienation. That is my take, anyway. That painting speaks to my Theory No. 1. However brief, there are several points in the movie where two women survey each other, and each time it seems very meaningful and poignant, though I can’t say I understand what exactly is supposed to be conveyed each time. Kate and lady in Katz portrait is one of the first instances of this female-on-female meaningful gaze of assessment.
Sean: I didn’t catch these lady moments of recognition, other than Liz thanking the lady cop who shot Elliott at the very end. What other ones were there?
Kristine: See, I would exclude that moment from the tally (but I also thought the movie totally fell to pieces at the end). The moments I am talking about are: Kate + Katz portrait, Kate + unfortunate-looking little girl in elevator, and Kate + Liz when the elevator doors open. Significantly, Bobbi is always wearing sunglasses, so that direct eye-to-eye contact is impossible...
The Girl’s Rating: Sleazesterpiece! AND Mucho racisto AND Neo-Hitchcockian gorgeousness AND Poses great questions, fumbles the answers AND This movie IS the ‘80s.
The Freak’s Rating: Sleazesterpiece! AND Pop perfection
In other news, Nancy Allen has been added to the Days Of The Dead: Indianapolis conference, which takes place the weekend of June 27th-29th. P.J. Soles is also scheduled to be there, as is Dario Argento.
Later in the clip, Brian De Palma and Jay Cocks visit Scorsese a day later to have some cake and celebrate. De Palma mentions to Scorsese that he begins mixing in January, and we can surmise that he is talking about Casualties Of War, which would be released the following summer. The three begin to discuss Scorsese's next picture, which ended up being GoodFellas, although that might not necessarily be what they thought might be his next picture at the time. But when Scorsese is asked if it will be a New York picture, he replies, "I don’t know, it might have to be Chicago." Then he starts laughing, pointing toward De Palma, who had just had great success the year before with a gangster picture shot in Chicago, The Untouchables. "Or maybe Toronto," says De Palma. Scorsese replies, "Toronto is a problem because it’s so clean." (A New York Times obituary of former New York film commissioner Richard Brick, who died this past Wednesday, explains that around this time, "the cost of shooting movies in New York had driven both independent and big-budget studio filmmakers to seek alternative locations, even when authenticity would seem to have been called for.")
When Scorsese tells the camera that he had mistakenly told them yesterday that he was 47 years old (he was 46), De Palma is reminded of something he "found out," and wants to tell Scorsese and Cocks. And when he starts whispering it, Scorsese says, "No-- you say that on the camera." De Palma shakes his head, saying, "No, you can't tell anybody." It sounds like he's saying something about Steven Spielberg, who would have been turning 42 exactly one month later. Scorsese mentions that "he" [Spielberg] came by a few weeks earlier. A couple of years later, Scorsese would make Cape Fear with Spielberg producing.
You can watch the entire documentary in easy order at The Playlist.