I really liked last night’s episode of The Leftovers. It was another of those single-character pieces that gives the focal actor a chance to shine, and Carrie Coon, as Nora Durst, did just that. She’s always been one of the show’s more intriguing characters, but we got to see her at much greater depth. Her meeting with Holy Wayne obviously changed her—she’s no longer stalking her ex-husband’s lover, or buying cereal for her kids and, more subtly, not influencing her interview subjects. I hope she and the Chief get together.
My latest book review: Riders on the Storm by Ed Gorman. I haven’t read enough by him.
I recorded several of the James Garner films that TCM ran last Monday and we watched two this weekend. First was Marlowe, based on the Chandler novel The Little Sister. It’s from 1969 and Garner’s character is not too many steps away from Jim Rockford. The film also stars Carroll O’Connor, Rita Moreno, William Daniels (St. Elsewhere) and, yes, that’s Bruce Lee martial-arts-ing himself off the edge of a building. I’ve seen this before, but it’s been a long time. Have to say I thought it was only passing fair. Garner is fine, but the story wanders at a leisurely pace and the plot is convoluted. Plus Sharon Farrell as “Orfamay” is annoying.
Then we watched The Americanization of Emily, which I’d never heard of before. Apparently it was only released on DVD in 2005. It was Julie Andrews’ second movie, filmed before Mary Poppins was released. The script is by Paddy Chayefsky and the film also stars James Coburn and has Keenan Wynn in a bit part as a besotted sailor. Garner plays a “dog robber,” a guy who kowtows to the every need of his Admiral. Sort of a Radar O’Reilly crossed with Mr. Carson from Downton Abbey. Personal dresser and procurer. Garner likes this gig because it means he won’t have to face military action. He’s not ashamed to call himself a coward. However, his Admiral goes a bit dotty in the weeks leading up to D-Day and decides that the first man to die on the beaches of Normandy will be a sailor, and he wants it filmed for posterity (and to keep the Navy from being disbanded after the wary). Andrews plays a British driver who catches Garner’s eye: she lost a brother, her father and her husband in war. She refuses Garner’s offer of chocolate (he can get his hands on any luxury item, despite rationing) because the British aren’t supposed to be enjoying the war. It’s from 1964 and is quite surprising for its anti-war stance, given the era. Garner vehemently believes that everyone who dies in war should not be automatically considered a hero. He doesn’t want young men back in the States to be deluged with “hero” stories that will inspire them to sign up and risk their lives. It’s an occasionally hilarious movie (Garner is always walking in on Coburn in bed with a different woman) with a serious message. We both loved it.
I’m watching Haven from the beginning to prepare for an essay I’m going to write in advance of Season 5. It’s surprising how much I’ve forgotten about the story. On one hand, I wish I’d done this before I went to the set, but on the other now that I’ve been to the set I’m picking up on all sorts of little things. For example, the cell door is made of wood, so the sound it makes when it slides open or when someone slams their hand against it is all done in post production. I’ve sat at the Chief’s desk and wandered around inside the offices of the Haven Herald. I saw Vince & Dave’s tandem bicycle and the books stacked up in the stateroom of Duke’s boat. I made it to the end of the second season yesterday, plus the out-of-series Christmas episode, which is a lot of fun, especially since it is in part inspired by Under the Dome.
