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Friday, November 13, 2020

Deadline's Mike Fleming Jr tracked down David Mamet to ask him what it feels like "for a great writer of dialogue to have an actor like the late Sean Connery elevate the words like Connery did as the rough and tumble Irish cop Jim Malone? Or, for that matter, when Alec Baldwin and the other stellar stars turned Glengarry Glen Ross in a master class in toxic testosterone." Fleming posted Mamet's "unpredictable" response today:
As for Connery, Mamet said he was a pleasure to work with and that he brought legitimacy to the tough guy cop character he’d written. Said Mamet: “I was talking the other day to somebody whose brother was a cop and who said to her, ‘the best portrayal I’ve ever seen of a cop in a movie was the one by Connery. What Connery exhibits is what every cop needs and many don’t have, and that is common sense.’ Mamet said that was conveyed in scenes that included one where Connery’s Malone confronts Kevin Costner’s Eliot Ness on a bridge at night. “Malone says, ‘why are you carrying a gun’ and Ness replies, ‘Because I am a treasury officer.’ When Connery says okay and walks away, Costner says, ‘ Why would you turn away from someone with a gun, just because he claims to be a treasury officer and Connery says, ‘Who would claim to be that, who wasn’t?’ It is the perfect example of the common sense a cop needs,” Mamet said.

I ask how Connery compared to the many other actors who delivered Mamet’s signature tough guy dialogue. The playwright-turned-filmmaker declined to eat the sushi, er, swallow the bait.

“Ever hear that joke, how do you make 99 of 100 little old ladies say, ‘fuck?’ I confessed I hadn’t. “Have the other one shout, Bingo! It’s the same thing here. Why would I alienate innumerable great actors I’ve worked with by picking one over another? I’ve been blessed since the earliest days in my career when we started our theater company in Chicago and I worked with Billy Macy, Joe Mantegna, Patti LuPone, Laurie Metcalf and others. I’ve worked with a lot of real tough guys,, like Dennis Farina, a real tough cop, and Dennis Franz, a tough Vietnam vet. I’ve worked with actual bank robbers, after they came down state, just superb actors.

“I stopped watching the news five months ago, I just couldn’t take anymore, and my wife and I have been watching old movies, pre-code movies, from back when they made 2500 films a year,” he said. “We’re watching King of the Newsboys, which starred Lew Ayres when he played light heavyweights, before Dr. Kildare, and in one scene they are getting drunk sitting at the bar and a woman wakes up, looks around and says, ‘Oh, am I still here?’ I think, that is genius, there’s no other line in the movie nearly that good. What happened? I think about it and figure, she misread the line, most probably.

“I remember a scene from a film I wrote and directed, Heist. Gene Hackman is in a scene with Danny DeVito. I’m crazy about Danny and he’s talking to Hackman on the phone and the line is ‘Are you fucking with me, are you fucking with me, or are you done fucking with me.’ With the emphasis on the world ‘done.’ As we’re shooting, I think, Jesus, no, don’t let him read it with the emphasis on ‘done’ instead of ‘fucking’ with me. And he reads it the correct way, the way a regular guy would. He was great. Sometimes, these things just happen.”


Back to Connery?

“My wife [actress Rebecca Pidgeon] is Scottish and I remember running into Sean in Edinburgh one year, maybe it was at the Edinburgh Festival,” Mamet said. Obviously Connery, who was knighted in his home country, would have been wearing the traditional kilt.

“What I’ll say about Sean is, not only did he do everything well, but he looked great in a skirt,” Mamet said.

Posted by Geoff at 12:01 AM CST
Updated: Saturday, November 14, 2020 12:16 AM CST
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Sunday, November 8, 2020

This week's episode of Fargo (season 4, episode 8) includes a shootout filmed at Chicago's Union Station, which, according to at least two episode recaps posted tonight, overtly calls back to Brian De Palma's The Untouchables:

Keith Phipps, Vulture

And so we’re off to Kansas City’s Union Station for a big shootout. And if it looks a little familiar, that’s because Fargo shot the scene at Chicago’s Union Station. Even if you’ve never been there, if you’ve seen Brian De Palma’s The Untouchables, you’ll recognize it as the setting of a gunfight that gives the movie its most famous set piece. It’s no accident that the battle in this episode evokes that famous scene, from its long set-up to its exaggerated soundtrack to its strategically deployed slow motion. (There’s no baby carriage rolling down the stairs Battleship Potemkin-style, however.) If the scene doesn’t come close to topping its inspiration, it gives the episode yet another moment that complicates our feelings toward its colorful criminals.

Scott Tobias, The New York Times

It’s probably unfair to chide “Fargo” for ripping off a major set-piece from Brian De Palma’s “The Untouchables” since De Palma himself has been knocked for ripping off Alfred Hitchcock. And the set-piece in question, a shootout at Chicago’s Union Station, nods to the famed Odessa Steps sequence in Sergei Eisenstein’s “Battleship Potemkin.” Nevertheless, the quotes around quotes around quotes somewhat diminish the impact of a show that can seem, at times, like a shallow pastiche without the undergirding of original ideas or thematic purposefulness. Its pleasures are mostly on the surface.

But let’s not get ahead of ourselves. For the most part, this episode was an entertaining jumble of loose ends and Plan Bs, full of characters who are scrambling to figure out how to act when their schemes have been blown up. With various subplots zipping every which way, there’s not any single unifying idea that binds the hour together, but at this point in the season, there’s just too much narrative business that needs to be resolved.

The main part of Tobias' episode recap ends with this paragraph:
The chaos that ensues from the Union Station operation — with Deafy and Swanee dead and Zelmare still on the loose — adds an encouraging volatility to the final batch of episodes this season. No one is in a comfortable spot here: Oraetta has to worry that Dr. Harvard will pursue attempted murder charges; Loy has to worry that the Faddas are finally uniting against him; the Faddas have to worry about Milligan; and everybody has to worry about Zelmare, who will surely be coming back to town, eager to settle some scores. Sounds like one or two more De Palma set pieces waiting to happen.

Posted by Geoff at 12:01 AM CST
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Tuesday, November 3, 2020

On Saturday, following the news that Sean Connery had passed away, his Untouchables co-star Kevin Costner tweeted, "I, like the rest of the world, was deeply saddened to learn of the passing of Sean Connery this morning. Sean was a crafted actor who was enormously proud of his body of work, particularly his work on stage. And although he was a very no-nonsense person, he was incredibly inclusive with me professionally and personally. He was the biggest star that I ever worked with and I will be forever grateful to be linked with him on film. Sean Connery was a man’s man who had an amazing career."

Robert De Niro, who, of course, played Al Capone in The Untouchables, also issued a statement on Saturday, according to Deadline's Alexandra Del Rosario. "I’m very sorry to hear about Sean’s passing,” De Niro said. “He seemed much younger than 90; I expected – and hoped– he’d be with us much longer. See you up there, Sean."

Posted by Geoff at 10:07 PM CST
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Monday, November 2, 2020

Today at The Hollywood Reporter, Andy Garcia recalls working with Sean Connery on The Untouchables, and also shares photos, such as the one above. "I was one of the four, so we were together a lot," Garcia tells HR's Tatiana Siegel. "His sense of humor was always prevalent. He had a very dry, sort of sarcastic, observational humor that I very much appreciated." Here's a bit more:
It was destiny that I got to work with him in The Untouchables. God works in mysterious ways. It was a great privilege for me. It was one of those things you think that someone will put a hand on your shoulder and say, “Wake up. It's all been a dream.”

We rehearsed for a week or so before we started [shooting] in Chicago. I remember during rehearsal, he was jabbing me with a clipboard that he had in his hands with the little metal part right in my ribs. And I remember knocking it out of his hand. And then he was like, “I like that. Let's do that in the movie.” So that's why it's in the movie like that because Sean was provoking me to get a reaction. Once I did, he said, “Good. I like this kid.”

We were doing a scene where I had to go down the hallway. The camera was looking down the hallway, and he was off camera. It was me answering the phone and having a conversation with him. But he was ready to go play golf right after the scene would be over. So I went in there to answer the phone, and Brian De Palma said, “Cut.” And I walked back to where they were, and Brian said, “Andy, we didn't see your face.” And then there was a discussion about how I’d answer the phone. I didn’t want it to look corny. And Sean looked up to me and said, “Come on, kid, it's not Hamlet: just answer the phone, turn around; let's get out of here.” So. I did another take. Brian says “Cut. Andy, we only saw one eye.” And Sean, with his great sense of humor, said, “You saw two eyes. They’re just very close together.”

His sense of humor was so quick, and you could be the butt of his humor very easily. And he would take it as well as he could give it. I would riff with him and try to hold my ground. And that was my relationship with him in the movie as well. I had to always come back with something. He wanted you to come back. He didn't want you to lay down. I made him laugh, and he treated me very warmly. He loved kids. He loved the fact that my kids were around on the set, and he would play with them. That showed the warmth of his character.

Sean took his work very seriously. He was a consummate actor, and he was highly prepared, so he set the bar very high. As soon as he walked into the room, he was ready, and you had to be ready around him. You had to show up ready to go. He had this masterful touch, imaginative, a sense of interpretation that he had with all of his parts going back to the early Bond.

The last time I saw Sean was at a tribute that we did at the AFI [in 2009], and I was honored to speak about him. After the event, we went together to an afterparty and sat together. We had a cocktail or two, and it was a beautiful thing. I never saw him after that. He lived in the Bahamas. He said, “Come to Nassau. We’ll play some golf.” I thought to myself, “Yeah, I gotta go do that.” I never did. It's a regret I have.

Raise your glass for him. It's never too early to toast Sean Connery.

Posted by Geoff at 8:46 PM CST
Updated: Monday, November 2, 2020 8:50 PM CST
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Sunday, November 1, 2020

"Sean Connery was more than James Bond to Chicagoans, thanks to The Untouchables" -- that's the headline to an article posted yesterday by Richard Roeper at The Chicago Sun-Times. "For many a movie fan and for Chicagoans in particular," the sub-headline continues, "when we think of Sean Connery, we think of the savvy and world-weary Irish cop Jimmy Malone in the The Untouchables, telling Kevin Costner’s Eliot Ness how to get Al Capone." Here's the first part of Roeper's article:
“Do you know what a blood oath is, Mr. Ness?”


“Good. Cuz you just took one.” — Sean Connery’s Jimmy Malone, shaking hands with Kevin Costner’s Eliot Ness in “The Untouchables.”

Virtually every tribute to the late Sean Connery led with his signature role as the original James Bond, and rightfully so. But for many a movie fan and for Chicagoans in particular, when we think of Sean Connery, we think of the savvy and world-weary Irish cop Jimmy Malone in the “The Untouchables,” telling Kevin Costner’s Eliot Ness how to get Al Capone. As Malone and Ness kneel side by side at Our Lady of Sorrows Basilica in East Garfield Park, Malone asks Ness, “What are you prepared to do?”

“Everything within the law,” comes the reply.

“And THEN what are you prepared to do?...You want to get Capone, here’s how you get him. He pulls a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. THAT’S the Chicago way, and that’s how you get Capone.”

There are certain movie moments where an actor clinches an Oscar, right then and there — and that was one of those moments. Connery had won the Oscar for best supporting performance of 1987 before Jimmy Malone and Eliot Ness left that church.

Brian DePalma directed the highly fictionalized and enormously entertaining “The Untouchables,” but it was David Mamet who gave the film its voice with his brilliant screenplay, and it was Sean Connery who turned Jimmy Malone into one of cinema’s great and lasting characters.

And what a Chicago film it was! DePalma and his production team made great use of the city, from the lower pedestrian deck of the Michigan Avenue Bridge where Ness meets Malone to the canyons of La Salle Street in the Loop to the Blackstone Hotel to the magnificent foyer of the Chicago Theatre standing in as the entrance to the Lexington Hotel. (Jimmy Malone’s apartment has been replaced by University of Illinois-Chicago buildings.)

The Untouchables” featured an outstanding ensemble cast — Robert De Niro, Kevin Costner, Andy Garcia, Charles Martin Smith — and of course Costner was the leading man and hero, but it was Connery as Jimmy Malone that gave the movie heart, that gave it a big-shouldered Chicago personality. He owned every moment he was onscreen.

Posted by Geoff at 12:01 AM CDT
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Saturday, October 31, 2020

Sean Connery has died following a long illness at the age of 90, accoring to a BBC News report, citing his family. Connery, beloved as the original on-screen James Bond, won an Oscar for his role as Jimmy Malone in The Untouchables (1987), which was directed by Brian De Palma from a screenplay by David Mamet.

In the wake of the news today, Mamet shared two personal stories about Connery with The Hollywood Reporter's Seth Abramovitch:

Sean Connery, who died on Saturday at age 90, was nominated just once for an Oscar — and won.

It was for his work in 1987's The Untouchables, in which he played Jimmy Malone, a veteran Irish-American cop who teams up with federal agent Eliot Ness (Kevin Costner) to put Al Capone (Robert De Niro) behind bars.

Malone's most famous Untouchables monologue — and arguably the most memorable line from the film — involves a scene in which he advises Ness: "You want to know how to get Capone? They pull a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That's the Chicago way."

The author of those words, Untouchables screenwriter David Mamet, shared two stories about Connery with The Hollywood Reporter.

The first is a reminder of Connery's dry and self-effacing wit.

"I met Sean [for the first time] on set," says Mamet. "Me: 'I am very pleased to meet you.' Sean: 'I never made a dollar off of James Bond.'"

The second story involves a gesture of kindness by Connery that forever stuck with Mamet.

"During post-production [Sean] was in Majorca, and we made a date to speak on the phone," he recalls. "Before our scheduled call my cousin called. She was in Ohio with a failed marriage, a husband who'd just lost his job, and, no doubt, the attendant kids down sick."

"In any case," he continues, "she was beyond despair. I told her I'd have to get off the phone as I was expecting a call from Sean Connery, and I'd call her back after the business call."

"'Give him my love,'" the cousin implored. "'Please; I adore him. Tell him first thing.'"

"Then Sean called. I said, 'My cousin adores you.' He asked about her, and I sighed, and told him the tale of her troubles."

"'What's her number?'" was Connery's reply.

"I gave it to him, he rang off, called her in Ohio, and chatted for half an hour. Rest in Peace," Mamet says.

Connery's James Bond debuted in Dr. No (1962). He would go on to play Bond in six more films, while also working on other films in between. In 1964, he was cast in Alfred Hitchcock's Marnie, and he also made several films with Sidney Lumet (The Hill, The Anderson Tapes, The Offence, Murder on the Orient Express, Family Business). Other movies he appeared in include John Boorman's Zardoz, John Huston's The Man Who Would Be King, John Milius' The Wind and the Lion, Richard Lester's Robin and Marian, Terry Gilliam's Time Bandits, Steven Spielberg and George Lucas' Indiana Jones and the Last Crusade, John McTiernan's The Hunt for Red October, Fred Schepisi's The Russia House, Philip Kaufman's Rising Sun, and Michael Bay's The Rock, among many others.


Posted by Geoff at 5:21 PM CDT
Updated: Saturday, October 31, 2020 5:36 PM CDT
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Monday, September 14, 2020

The Chicago Journal is keeping a running master list of Chicago movies. "What makes a 'Chicago' movie?" the Journal asks in the introduction. "It's a good question that, we admit, in some cases requires a bit of je ne sais quoi. To us, the best 'Chicago' movies are those where the city becomes almost a character in itself. It's a movie that, once seen, you can't picture set anywhere else. A movie that lifelong Chicagoans can see themselves and their friends and family in the characters and a movie that makes us instantly recall long forgotten memories."

Listed alphabetically, The Untouchables entry on the Journal's master list reads:

This David Mamet written and Brian De Palma directed 1987 picture probably also deserves Mt. Rushmore Chicago movie status. There are not many that can check all the boxes it hits.

It was almost entirely filmed here and has pivotal/famous scenes in some of the city's most iconic locations, it was a critical/commercial success, and it piles on the je ne sais quoi of Chicago attitude with the quotes to match.

In fact, The Untouchables gave us maybe the most-used/well-known movie quote in the history of Chicago. When Sean Connery, who won an Oscar for his role, is talking to Kevin Costner playing infamous lawman, Eliot Ness, famously describes increasing violence in order to bring down Al Capone's empire:

"They pull a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That's the Chicago way!"

De Palma's The Fury is also listed, briefly:
Brian De Palma directs this movie about kids with occult powers who go to a special Lincoln Park school and fight a government plot.

Posted by Geoff at 12:01 AM CDT
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Saturday, August 15, 2020

Another husband and wife movie podcast? You got it-- the latest episode of the Date Night Movie Podcast has hosts Ashley and Patrick Russell discussing two films: Brian De Palma's The Untouchables, and the recent Josh Trank film, Capone. The episode runs just under 30-minutes in length, and after discussion of each film, they say whether or not it would make a good date movie.

Meanwhile, Scott Delahunt's "Lost In Translation" column at Psycho Drive-In takes a brief look at the historical accuracy of The Untouchables:

The film focuses on the Untouchables’ pursuit of Al Capone. Ness’ first outing in Chicago goes as it did historically, a lot of notice and no whiskey; Capone’s men had been tipped off by someone on the Chicago Police Department. Despite the headlines, Ness pushes on. He gathers a core group of men he can trust – former beat cop Malone, rookie cop Stone, and IRS accountant Wallace, who was assigned to help Ness with an eye on nailing Capone for tax evasion.

The point of view remains on Ness and his men for the bulk of the film. Capone is kept removed from the day to day operations of his mob, making it difficult to pin him on any crime. The mob boss does keep his own men in line, with force if needed. The choice is be loyal to Capone or die. Ness, however, earned the loyalty of the Untouchables. The difference between the mobsters and the law enforcement agents is wide. Capone has an expensive home, has staff who will serve the finest dinner on silver plates and wine in crystal glasses. Ness has a simple house, crammed in between two similar houses, a wife and child, simple furnishings. When Ness goes out with his team, they go to a cheap diner.

Ness’ investigation includes a raid on a smuggling convoy along the Canadian border with the RCMP’s assistance, where he manages to arrest Capone’s bookkeeper. With some persuasion, the bookkeeper helps Wallace to decode the ledgers. Capone doesn’t take the news well. Nitti is sent to make sure the bookkeeper doesn’t testify, resulting in both the bookkeeper and Wallace dead. Capone ups the ante by having Malone killed as well.

Undaunted, Ness continues the fight. In his dying breath, Malone tells Ness about Capone’s other bookkeeper being sent out of town by rail later that night. Malone and Stone stake out the railway station, leading to one of the tensest scenes in cinema history. The clip below doesn’t show the tension building as Ness watches people arriving and trying to figure out who could be part of Capone’s gang. The shootout is the release of that tension.

With the bookkeeper, Ness is able to build a case for tax evasion against Capone. Despite an attempt at jury tampering, Capone is found guilty, is fined $50 000 and is given 11 years in prison.

The movie takes a few liberties. Some were needed because of the nature of the medium. Ness had ten men initially, all under thirty and idealistic. It’s harder to corrupt a young man full of idealism than an experienced man who has seen how the world works. The TV series could bring in different members through the use of a rotating cast of supporting actors. A film doesn’t have that luxury, so Ness has just Malone, Wallace, and Stone. Frank Nitti didn’t die during Capone’s trial from a fall from a building; Nitti took over Capone’s mob when Capone went to prison and died by his own hand in 1943. However, the film did keep the focus on Ness’ investigation of Capone.

While some of the historical facts were loose, visual details were accurate. Chicago landmarks were used, and the fashion of the era for men and women, for high class and for working class, was accurate. Visually, the film is lush. The 1959 TV series didn’t have the luxury of colour, so couldn’t be anywhere near as lush. The advantage of movies is budget, and The Untouchables made the most of this advantage.

Like the 1959 series, the 1987 film lets drama outweigh historical accuracy in a few areas. However, the strength of the cast, the writing, and the filming lets audiences ignore differences until well after the film is over. The Untouchables is a crime drama, a war between law & order and criminal enterprise, and is well worth viewing even if it isn’t 100% accurate.

Posted by Geoff at 12:01 AM CDT
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Thursday, April 16, 2020

Gwen Ihnat interviewed Patricia Clarkson for The A.V. Club's "Random Roles" column, wherein actors are not told beforehand which roles they will be asked about. Thankfully, Ihnat asked Clarkson about her first film role, in Brian De Palma's The Untouchables:
The Untouchables (1987)—“Ness’ wife”

AVC: Your movie debut was in The Untouchables as Kevin Costner’s wife. That seems like quite the get for a debut.

PC: It was my very first movie, yes. I went in and auditioned for the casting director, the great Lynn Stalmaster. Beautiful man. Gave me my biggest break of my life—the first big movie. And he said, “Come back and meet Brian De Palma. But don’t be glamorous. You know, remember this is a Midwestern girl.” I was like, “Okay.” And I came in with a sweet little dress on and no makeup, and there was Brian De Palma. And he read Eliot Ness with me.

And the next thing I knew, like, the next day, they said, “We’re going to fly you to Chicago to meet Kevin.” I said, “Well, I’m in the middle of a play.” I was doing House Of Blue Leaves on Broadway. And they flew me in the morning, like on a Friday morning or something, and then they flew me back to make the show. Thank god Chicago is a quick flight. And I met Kevin Costner, and they told me right then and there in the room that I had it.

And Kevin hugged me, and my agent didn’t believe me at the time. “No, no, no, Patty, they don’t tell you.” He said, “Don’t—don’t get too excited.” I was like, “No, no, no! He told me I got the part!” And it was so sweet and lovely, and I had such a beautiful time. I have such a love still, a soft spot, for Brian De Palma. He gave me the first break of my life. He was very kind to me and added me to the courtroom scene. I was broke, and he added me to the courtroom scene, which meant I had to be paid for a whole month. Which was like, “Oh, my god!” I was like, “Brian, I love you!”

And Kevin was a doll, and I’ve seen him since, of course, and we always hug. He was really involved in post-Katrina in my hometown of New Orleans. He’s beloved there, and he’s a beautiful man, and still beautiful. He was hot then, hot now. [Laughs.]

The Dead Pool (1988)—“Samantha Walker”

AVC: You followed that up with another movie with another icon: Clint Eastwood.

PC: I was in—that’s the last Dirty Harry movie. I kept thinking, “C’mon, Clint, you’ve had all these movies. Do one last Dirty Harry. And bring back the journalist you had a crush on.”

I mean, that was—what a job. My father was beside himself. He couldn’t hang up the phone fast enough to call every single friend of his to tell them that I was doing a movie with Clint Eastwood as Dirty Harry—I was going to be in a Dirty Harry movie. Some of my more New York friends were like, “Really?” I was like, “Yes.”

And I was cast off-tape. Clint Eastwood doesn’t meet in person. I just did a tape, sent it in, went into a casting director, and was cast. Showed up in San Francisco. The first time I met him—oh, my god—was in a big restaurant by the Wharf, and the producer and the cinematographer were there, and I got there, and I was waiting, the three of us. And suddenly, I hear screaming. I mean screaming. We’re at the back of the restaurant, and I hear screaming. And I turn around, and there’s Clint Eastwood walking through the restaurant, and it was—you know, the king had arrived. It was crazy. And he sat down, and he was incredibly dry and cordial and lovely.

I had a beautiful time working with him. And he’s very quick. So some of what you see in that movie is one or two takes, I’m not kidding you. He’d be like, “Was that good for you?” And I’d be like, “Wait, it it it—yeah? I think it was good.” “Okay, okay. Moving on! Moving on.” I’d be like, [Exasperated sigh, laughs.] “Yeah.”


Patricia Clarkson on meeting Brian De Palma

Posted May 10 2004
Seventeen years after her film debut as the wife of Eliot Ness in Brian De Palma's The Untouchables, Patricia Clarkson's career is having a resurgence. An interview article at the Washington Post discusses Clarkson's voice, "her most arresting feature." Described by the author as a "throaty" and "husky" voice that harkens back to the screen sirens of the 1930s and 1940s, Clarkson tells how she would walk into auditions "blond, pretty, whatever. But then I'd open my voice and they'd say, 'Hmmm.'" The article then mentions De Palma as "one director who wasn't put off," casting Clarkson in The Untouchables. "I think he liked that I looked a certain way and I had this voice," Clarkson told the Post. "Brian is irreverent and brilliant and funny and I think he just kind of liked it." Clarkson is pictured here with De Palma at the Tribeca Film Festival in May 2002.

Posted by Geoff at 10:48 PM CDT
Updated: Thursday, April 16, 2020 10:52 PM CDT
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Monday, March 9, 2020

Brian De Palma's The Untouchables will screen in a 70mm Blowup print, with Magnetic Sound, at the Music Box Theatre in Chicago March 14, 17, and 18. The Untouchables was included in an early version of the Music Box's 70MM Fest back in the summer of 2016.

Posted by Geoff at 11:09 PM CDT
Updated: Monday, March 9, 2020 11:12 PM CDT
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