Thomson characterizes Godard’s astringent aversion to emotion as “a blank adolescent sensibility behind the dark glasses, accompanied by a lack of felt experience. At our lunches at the Swiss Café in Los Angeles, he would take my arm-in old age he was mostly blind-enter the restaurant and tell the waitress, “Coffee. I might add that Lang was more than warm: He was extremely good company. Telling people what to do is the basic function of the movie director. Thomson describes as “close to being a fascist.” But there you are. That may be why he was giving so much time to prolonged interviews for television.”Īs for Fritz Lang, I knew the man well-he wrote letters to my cat, which sounds wildly out of character for a man Mr. Thomson’s great strength is the literary equivalent of the sound bite: Orson Welles is “a magician of the disorganized moment. They need to fight about something.”īesides his analysis, Mr. Thomson’s words, “a couple telling themselves they are in love, and so happy about it, is often doldrums on screen. Thomson puts his finger on Hawks’s basic narrative-a duel of clashing ambitions, whether between John Wayne and Montgomery Clift in “Red River,” or Cary Grant and Rosalind Russell in “His Girl Friday.” Hawks understood that, in Mr.
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