#estelle parsons

[citizenscreen]

Happy 97th birthday to Oscar winner, Estelle Parsons!

[roseillith]

WATERMELON MAN  (1970) dir. MELVIN VAN PEEBLES

[djkerr]

And how many fingers am I holding up?

TGW 04x22 What's in the Box?

[letterboxd-loggd]

Bonnie and Clyde (1967) Arthur Penn

June 18th 2023

[tedhead]

obsessed w the halloween decorations in this diner

[onenakedfarmer]

Currently Watching [Tuesday in May Edition]

I WALK THE LINE John Frankenheimer USA, 1969

[tparadox]

Bonnie and Clyde Hold Up Yesterday's Movies

Bonnie And Clyde. Warner Bros. Pictures 1967.

[erstwhile-punk-guerito]

[machetelanding]

[badflicks]

Bonnie and Clyde (1967) 🍕🍕

How do you judge an old movie by modern standards? You can't but one measure could be to see if it does stand the test of time as in: is it still entertaining to watch today? Not particularly in this case 🤣 but there's enough weird shit that they put in it considering it was the 60s you can appreciate they were trying to do something unique for the time. Also, it appears to be the first movie where they tried to make more realistic shooting scenes, including the sound and blood splatter, and those are pretty fun.

[citizenscreen]

Happy 96th birthday to Estelle Parsons!

[watchingalotofmovies]

The Love Letter

The Love Letter    [trailer]

20th century computer games designer Scott exchanges love letters with 19th century poet Elizabeth Whitcomb through an antique desk that can make letters travel through time.

Very romantic but also a little bit cheesy. But I don't doubt that it's one of the better Hallmark movies. And probably one of the few that includes time travel.

Side note, it's interesting that the film predates Il Mare/The Lake House by a few years.

[roseillith]

WATERMELON MAN  (1970) dir. MELVIN VAN PEEBLES

[gay-aunt-jackie]

[twittercomfrnklin2001-blog]

American Rot

AMERICAN ROT by Kate Taney Billingsley directed by Estelle Parsons: After two tech-heavy Broadway shows it was refreshing to go to La Mama, sit on a folding chair and watch a play where the only scenery that moved was chairs as the actors adjusted positions. Billingsley has tackled a tremendous topic, the different viewpoints and experiences of black and white Americans. She can’t possibly present every aspect of the issue, but it’s amazing how deftly she covers a great deal. A descendant of Dred Scott (Leland Gantt) drives to a New Jersey coffee house to meet with a descendant of the Supreme Court justice (Timothy Doyle) who decided that slaves were not intended to have the same rights as citizens, even in free states. The white man (John L. Payne) wishes to apologize and present the black man (Court Stovall) with a gift, the chief justice’s gavel. Not a good choice. This triggers a debate, with members of each man’s family weighing in on racial tensions (even though they’re not physically present at the meeting) and contributions from the MAGA waitress (Suzanne Di Donna) and a Latinx cook (Francisco Solorzano), who keeps writing ironic specials on the board like “Rape and Pillage Happy Hour” and “Cage-Free Children.” There’s a great deal of humor in the play, and under Parsons’ direction the timing is expert. There are also choral moments that land powerfully along with a funny title song performed by the chorus. Lest you think the play is all about excoriating the white liberal’s unacknowledged prejudice, there’s also a powerful scene in which Dred Scott excoriates his descendant for claiming a pain he never experienced. The play leaves a lot of questions, which is what good plays should do. It’s up to the audience to find the answers.