joe gould ' s secret ( film )
but if joe gould’s secret is well known, joe mitchell’s secret is not .
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the secret of
joe gould' s secret
is that it is not joe gould' s secret at all. it is joe mitchell' s secret. joe gould is easy to understand because like many madmen he is consistent from day to day - - stuck in the rut of his delusions. but joe mitchell is a hard case, a man who hides his elusive nature behind a facade of shyness and courtly southern manners. stanley tucci' s lovingly crafted film pretends to be about joe gould, and all the time its real subject is hidden right there before us in plain view .
all the film' s energy goes into ian holm' s stellar performance .
the swedish film institute has a duty to support production, distribution and screening of valuable film, to preserve and make accessible the swedish film heritage and to represent swedish film abroad .
tucci' s slow - paced storytelling in
big night
was brave and worked beautifully, but the same technique in
joe gould' s secret
becomes annoying .
some good stuff in this book for example joe gould eats a bowl of ketchup with a spoon, joe gould translates longfellow into seagull, joe gould suffers a breakdown from caring too much about albania, goe jould recites a proletarian poem, joe gould declares the auto unnecessary joe gould measures the cranium of an indian or two, joe gould is covered in lice. like i said some good stuff in this book .
i an holm is a great actor, and in
joe gould' s secret ,
a film directed by stanley tucci, he nails one of the best roles of his career. the subject is joe gould, an artist / bum who became a celebrity thanks to a 1942 magazine article in the new yorker .
ah, joe gould… if it wasn’t for ‘u’, it would have been gold .
the truth was revealed by mitchell in an article, “joe gould’s secret, ” that was published in two parts in the new yorker, on sept. 19 and 26, 1964. it is considered mitchell’s masterpiece .
joe gould' s secret - slow, detailed, cautious, and ultimately kind of obtuse. perhaps the problem is that this is the first movie he has directed that he hasn' t written .
around 1940, the new yorker staff writer joe mitchell meets joe gould, a greenwich village character, who cadges meals, drinks, and contributions to the joe gould fund, and who is writing a... see full summary »
joe gould, one of the city’s great eccentrics, as seen by al hirschfeld. one the city’s great caracturists. (illustration: the new yorker )
“joe gould’s secret” was one of mitchell’s last published works. he continued to go to his office at the new yorker for 32 years, until his death in 1996, but wrote virtually nothing. joe gould, it seems, may have been part of the reason. in a profile published in 1992, mitchell told the washington post :
the relationship between mitchell and gould became the subject of a 2000 film, “joe gould’s secret, ” starring stanley tucci and ian holm. (in a review, stephen holden wrote that the movie “settles for being an atmospheric scenes - in - the - life biography of someone’s most unforgettable character. it could have been so much more. ” )
when mitchell died, on may 24, 1996, joe gould was prominently mentioned in the times’s obituary. (the times also published excerpts from the gould profiles. )
joe gould' s secret
is about friendship, writer' s block, the challenge of fitting in and the thin border between madness and creativity. along with holm and tucci, the cast includes hope davis as tucci' s photographer wife, steve martin as a publisher who' s sympathetic to gould, patricia clarkson as a gallery owner and
now, several years later, studio executive dave kingman (stanley tucci, joe gould' s secret) is in charge of promoting the couple' s last film. there is only one problem: he has never seen the film. in fact, kingman won' t get to see the finished product until the junket, when the final version of the film will be released to the press by the quirky and flaky director hal weidmann (christopher walken, joe dirt), who claims that his film is
the most honest thing he has ever done
.
“dear muriel, ” rothschild began in a typed letter to gardiner on october 20, 1947. “i am very sad about your decision concerning joe gould. ” that decision, as mitchell noted in joe gould’s secret, was to stop bankrolling gould at the end of the year. in the book, mitchell did not mention rothschild’s letter. but rothschild gave a copy to mitchell, who stored it in his files .
a young joe gould makes an appearance in the 1911 harvard class album. (click image to enlarge. )
joe gould’s secret, joe mitchell’s classic portrait of an astute but deluded bohemian in postwar greenwich village, has been picked over for half a century by literary critics, fact - checkers, college professors, and ordinary readers. one abiding mystery has long been the identity of the anonymous heiress who kept the down - and - out gould housed and fed throughout the late 1940s. that mystery has now been solved .
take an hour or two to read about one of the more fascinating street characters that haunted the greenwich village streets in the first half of the 20 th century. this was a time when painters and poets, novelists and other artists made the village their home and workplace, and joe gould was one of those. well, sort of – that’s joe gould’s secret after all. for joe gould, the son and grandson of boston doctors would describe to nearly all he met his grand project – to write an oral history of his t
the action takes place in new york city in the 1940s, joe gould died in 1957, and joe mitchell wrote the book “joe gould’s secret” in 1964 to reveal the secret. i lived in new york in the 1940s and redd the book when it first came out. i found the book better than the movie, for the following reason: the climax of the story comes when the secret is reveal. after that the book comes to an end fairly quickly with a brief summing up. but the movie continues on for about 30 minutes, diminishing the dramatic impact. thus it becomes a biography of joe gould, rather than a good dramatic story of the revealing of his secret. it could have profited from some extensive editing. there are many excellent features of the movie (which other reviewers have mentioned) but i only gave it 3 stars instead of 4 because of what it might have been .
in
joe gould' s secret ,
tucci opens the possibility that gould was a sham, that he was only pretending to be writing his epic, just as truman capote later did with
answered prayers .
tucci, who directs with quiet affection and rare restraint, also plays joseph mitchell, the reserved journalist who befriended gould and introduced him to his readers .
around 1940, the new yorker staff writer joe mitchell meets joe gould, a greenwich village character, who cadges meals, drinks, and contributions to the joe gould fund, and who is writing a voluminous oral history of the world, a record of twenty thousand conversations he' s overheard. mitchell is fascinated with this harvard grad, and writes a 1942 piece about him ,
professor seagull
, bringing gould some celebrity, and an invitation to join the greenwich village ravens, a poetry club he' s often crashed. gould' s touchy, querulous personality and his frequent dropping in on mitchell for hours of chat, lead to a break - up, but the two joes stay in touch until gould' s death, and mitchell' s unveiling of the secret .
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does anyone out there agree with me that joe was never invited to join the ravens? i believe this non - fact bled over from the movie into the literature. at joe' s funeral and in the death notice of the head raven, they were still taking about joe' s failure to be admitted. only articles by people who saw the movie mention this supposed part of joe' s life. or so i have found - comments ?
i' m reading mitchell' s book, up in the old hotel, and came across the professor seagull piece in mcsorley' s wonderful saloon. this caused me to dig deeper into the story of joe gould .
“joe gould’s secret” ran in consecutive issues of the new yorker in september 1964. published the next year as a book, it was, famously, mitchell’s final published piece (though he reported to the office most days until his death in 1996). it was also his finest—a “masterpiece, ” as new yorker editor david remnick later characterized it .
an observant evocation of new york’s literary and bohemian world of more than a half - century ago, “joe gould’s secret” remains sympathetically engaging even as it sporadically stumbles on its journey through the streets, saloons and salons of greenwich village. distinguished by a fine central performance by ian holm as the titular true - life “character, ” a shabby [ … ]
tucci' s direction dwells on 1940' s greenwich village with bohemian romanticism. gould lived off the kindness of admirers, snagged between a bizarre novelty and a legitimate visionary. sir ian holm plays gould to the hilt, by turns eloquent and unstable. tucci fences himself in somewhat, over - internalizing his film' s evocative nostalgia .
all my life i have recired these lines–“in the winter i’m a buddhist, in the summer i’m a nudist” joe gould has given me alot .
as for mitchell, he finds he can’t shake the man he’s put in the limelight, who turns up at his office anytime he wants, seeking full attention and generally being a nuisance. this finally provokes a sad but necessary confrontation that incidentally uncovers the secret of gould’s life .
howard a. rodman ’s intelligent, well - judged screenplay is based on mitchell’s two new yorker stories about gould, the first of which made the man a mini - celebrity when it appeared in 1942; the second, much longer piece, published in 1964, seven years after gould’s death, disclosed far more about the author’s long and erratic involvement with his subject, in addition to revealing the “secret” that no one else knew .
left, gould enjoys a drink on the cover of mitchell’s 1965 book based on his new yorker profiles of gould. right, the memoir of muriel gardiner, the heiress who served as gould’s anonymous benefactress for years. , from harvard university archives, hud 311. 04 .
era a criança catarrosa; era o filho que sabia que tinha desiludido o pai; era o lingrinhas, o micróbio, o fedelho, o meia - leca, o pequenitates; era joe gould, o poeta; era joe gould, o historiador; era joe gould, o selvático dançarino chippewa; era joe gould, a maior autoridade mundial em linguagem das gaivotas; era o homem banido; era o exemplo acabado do vagabundo nocturno solitário; era o rato reles; era o único membro do partido joe gould; era o boémio local do minetta tavern; era o professor; era o gaivota; era o professor mangusto; era o rapaz de bellevue .
joe gould faz parte desse leque de personagens excêntricas, que não tendo nada para nos seduzir, nos seduzem com tudo o que têm, nos comovem por tudo o que são, e nos desconcertam pelo que poderiam ser e não são .
but operating underground in vienna, it was discipline and discretion that had guided gardiner. and she approached patronage with similar rigor, insisting not only on her anonymity but also, as mitchell wrote in joe gould’s secret, that an intermediary disburse her money to gould and see to it that the funds be used to buy room and board, not alcohol. gardiner further stipulated that this person be “discreet and responsible. … someone gould respected and would heed. ”
like holden caufield, i have always had an aversion to phonies: milli vanilli, the ramones, the kardashians, j. t. leroy. therefore it was with more than a grain of locally sourced organic sea salt that i read joseph mitchell’s joe gould’s secret. the work had some prominence when it was published (actually re - published and re - re - published) as pieces from the new yorker spread over a twenty - two year period. to explain: joe gould was a character back when such people did not have reality shows or
genres. during and following the screenings, the panel of filmmakers and composers, along with the audience, will explore the effect of music in films and how the same film with a different score will dramatically alter the experience of that film. moderated by bmi’s
you pick someone so close that in fact you are writing about yourself. joe gould had to leave home because he didn’t fit in, the same way i had to leave home because i didn’t fit in. talking to joe gould all those years he became me in a way, if you see what i mean .
tucci' s multiple talents have led to a very diverse career. not only an accomplished and gifted actor, he is also a writer, director and producer. at last year' s sundance film festival, stanley premiered the film blind date, which after seven years, brought him once again behind the camera, as he has directed and co - wrote, as well as starred in the van gogh remake of this film .
in conclusion, instead of getting a good - for - laughs, lighthearted date movie, audiences get a pathetic and demystified view of how screen celebrities really live. while making fun of film school flakes, hotheaded divas, and nervous film executives brings some laughs, the thin plot and the fractured fairytale ending ultimately sour the film .
primarily a movie about relationships entrenched in an era, joe gould' s legendary tome
oral history of the world
lies thick in the plot. he claimed it to be the century' s great literary work, an erudite mix of conversation, essay, philosophy, and the city' s unconscious. he refused to show it to anyone, including mitchell. this little film is fine, evoking an enigma with style and care .
now a major motion picture starring ian holm, hope davis, and stanley tucci, who also directs. joseph mitchell was a legendary new yorke r writer and the author of the national bestseller up in the old hotel, in which these two pieces appeared. what joseph mitchell wrote about, principally, was new york. in joe gould, mitchell found the perfect subject. and joe gould' s secre
joe gould (1889 – 1957) quem é joe gould (joseph ferdinand gould)? joseph mitchell (1908 – 1996) um jornalista da mítica revista norte - americana the new yorker traça um retrato inserido numa rúbrica denominada “perfis” a vida de um excêntrico, joe gould (1889 – 1957) - conhecido como professor gaivota -, um homem que diz ser ” (…) a maior autoridade dos estados unidos em matéria de viver sem nada, (…) que vive de ar, amor - próprio, beatas de cigarros, café de comboy, sanduíches de ovo e ketchup. ” ,
an observant evocation of new york' s literary and bohemian world of more than a half - century ago ,
joe gould' s secret
remains sympathetically engaging even as it sporadically stumbles on its journey through the streets, saloons and salons of greenwich village. pic is distinguished by a fine central performance by ian holm as the titular true - life
character ,
a shabby little man who is a writing genius in his own mind .
in the article — later reprinted as a book and then included in “up in the old hotel, ” a 1993 anthology of mitchell’s work — mitchell recounted his relationship with gould and how he had come to realize that gould’s “oral history” did not exist .
in my article, i discuss the canadian pianist glenn gould’s (1932–1982) reception in literature; in novels, children’s biographies and poetry. through close reading, i scrutinize the meanings associated with gould in these three literary genres. i give particular focus to gould’s national iconicity, that is, his position as a cultural icon and national hero. i utilise mikko heiniö’s concept of topos, referring to a petrified and unreflective mode of an individual’s public reception. gould’s reputation as a radical, iconoclastic, eccentric, and solitary artist is reflected in the qualities that circulate repeatedly in gould’s reception historically, and is therefore also instrumental in constructing his public image. topos, thus defined, always functions as a backdrop for the reception of gould’s music. one of the main conclusions of my essay, admittedly one in need of a further discussion, is that the experience of any music is, particularly in today’s age of information technology, a multimodal process in which an artist’s textual representation plays a crucial role .
i remember the story of gould and mitchell and i found it intriguing. what i didn’t know was that after that mitchell wrote very little, so joe gould must have an extreme impact on mitchell, but it must not have been positive. ruth beazer
there are several spoilers in this review of the hunger games, and i’ll get them out of the way early. the film shows precious little hunger and no sense of game. it’s a terrible movie, but it grossed $ 68. 25 million on its first friday. so that’s where your teenage daughters were over the weekend—or what they told you. and that’s why film critics sometimes feel their own futility .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
a respectful communication from joe gould to his unknown patron (who will be cherished by posterity for her generosity to the author of the oral history whether she chooses to remain anonymous or not) .
stanley tucci is a director and actor with an openhearted generosity for his characters; he loves and forgives them. his first film ,
big night ,
co - directed with campbell scott, was a perfect little masterpiece about an italian restaurant run with too many ideals and not enough customers. here he' s made a chamber piece of quiet scenes, acutely heard dialogue and subterranean emotional shifts. ian holm' s role as joe gould is the flashy one, and some viewers will be fooled into thinking the film is about gould. but he isn' t the one who changes. he is himself from beginning to end, repeating the same notes, sometimes touchingly, sometimes maddeningly .
although the picture doesn’t pursue the psychological aspects of mitchell’s fascination with gould or try to explain why the author allows himself to become so consumed by his subject’s life, there is an implicit sense of “there but for the grace of god…” in mitchell’s feelings for gould. by expanding the range to include mitchell’s wife, pic offers three characters who capture street - level life in new york city in their own ways, each equally valid .
he didn’t apologize in “joe gould’s secret. ” in vintage mitchell form, he instead identified with his betrayer. as he later said in an interview, he held gould up as an emblem of “so many people who bit off more than they could chew”: in gould’s unrealized opus, mitchell saw a parallel to the big new york city novel that remained trapped in his own head. yet thanks to the constraints of nonfiction, he got many parts of that book out in other ways during a time of flux in journalistic standards. in his depictions of the people and places of an already disappearing new york, mitchell sought to elevate their daily routines into something universal. he saw the city itself, in kunkel’s words, as a “big, messy, living novel. ” david remnick, the new yorker ’s current editor, has called mitchell’s portraits “as pointed, various, and haunted as the stories in dubliners. ”
mitchell wrote that he realized the truth after introducing gould to several publishers that had expressed interest in publishing excerpts of the work. (gould had claimed that he had been rejected by 14 publishers and had hidden the manuscript for safekeeping during the war .) mitchell confronted gould with the truth, and gould only replied, “it’s not a question of laziness. ” mitchell returned to his office at the new yorker :
david thomson is the author of the new biographical dictionary of film and the moment of psycho: how alfred hitchcock taught america to love murder .
his film salutes the spirit of gould and asks if a man of such extravagant idiosyncrasy could be appreciated today, and not dismissed. played by holm, he' s an entertaining figure, but a tragic one: a man of enormous gifts who lacked the emotional apparatus to turn those gifts into work .
the “oral history” did not exist, although mitchell didn’t realize the truth until years later. the legend of the “oral history” survived gould himself. on aug. 20, 1957, two days after gould’s death at age 68, the new york times published an obituary of gould, by the associated press, which reported, in part :
the film is too lackluster and inconsequential to pack any punch. director tucci' s mise - en - scène is too self - regarding and fussy, the just - so period design is stifling, the cinematography arid .
, legendary chairman of anthology film archives. enormously influential, particularly in new york’s early underground cinema, the pioneering filmmaker will curate and host the three - part series chronicling the history of the american avant - garde cinema .
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
the diary’s 1, 100 - odd pages are first and foremost a record of baths taken, meals consumed, and dollars bummed. it’s clear that gould’s favorite subject was himself. other people were mere bit players in the movie of his mind, and the bustling city he lived in no more than a backdrop .
i grieve for jennifer lawrence to think that vital years will be given over to the drivel of this franchise. it is sad to see woody harrelson in a role that need not exist, when he is becoming an odd and compelling actor. donald sutherland’s portentous mastermind figure is as hollow and predictable as his other work in recent years. the only person i want to see again is stanley tucci, who is witty, exact, and wicked as a blue - haired commentator to the games—they are a television entertainment, of course, a reality show. tucci is a treasure as an actor. if he’s in a film for a minute, you want to see it. he is also a very good director (joe gould’s secret), and i wish he had the freedom or the resources to do more things like that .
writer freely mixed fact and fiction—much of what he wrote wouldn’t meet today’s fact - checking standards. but maybe literary journalism has lost more than it’s gained .
· girlfight - women in film; making a movie is hard. making a movie as a woman is even harder. so how do you do it ?
«diria que o homem mais são é aquele que mais claramente que qualquer outro compreende a trágica solidão da humanidade e prossegue tranquilamente os seus objetivos essenciais», escreveu. «suponho que penso assim porque tenho a mania das grandezas. penso que sou joe gould. » estou a sentir - me um bocadinho com a mania das grandezas pelo privilégio de ter conhecido joe gould. e grata pelos momentos emocionantes que passei a ler sobre a sua vida. e com ar de tolinha a folhear e reler passagens deste liv
although a modest budget keeps the film’s physical focus relatively narrow, production designer andrew jackness, costume designer juliet polcsa and cinematographer maryse alberti have packed the picture with period flavor by using many real village locations and coordinating an immaculately handsome look for the appealing tale. evan lurie ’s piano - dominated score is supplemented by numerous period tunes .
in 2002, stanley won a golden globe award for his brilliant portrayal of lt. colonel adolf eichmann in the television film entitled ,
conspiracy .
he also received a golden globe, as well as an emmy award for his portrayal of walter winchell, a founder of american gossip, in the hbo original film ,
winchell .
please note: only exteriors of the burke campus may be used for commercial filming. in rare instances, interiors of other campus buildings can be used for filming upon the marketing department’s approval. initial outreach must be done at least one month prior to film date .
how much to trust his sources, and his own intuitions, could be a hard call, as he discovered at what seems to have been a crucial turning point in his career. mitchell was deeply unsettled when one of his characters got away from him, and his subsequent struggle to navigate the boundaries of fact and fiction is instructive. after his piece on joe gould was published, in december 1942, mitchell learned that gould was a fraud. there was no oral history of our time; gould’s hundreds of composition books were filled with the same few essays written over and over .
having first spied the disheveled, cantankerous gould in a diner pouring a bottle of ketchup into his bowl of soup, mitchell learns about the “oral history” and decides to do a profile of the homeless hobo, who carries portions of his manuscript with him everywhere and is forever soliciting donations to the joe gould fund, which will keep him alive and moving ahead with his grand - scale project .
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within minutes of hearing his wife' s confession, he' s kissed passionately by a bereaved woman who barely knows him (and plays no role in the rest of the movie); shoved to the ground by a gang of homophobic teen - agers (who are never seen again); and propositioned by a gorgeous west village hooker (who' s revealed to be hiv - positive later in the film, not that william actually sleeps with her) .
again, this is nothing that can' t be found in a penthouse video, albeit shot by a man who had an almost mystical grasp of film' s technical capabilities. scores of unspeakably beautiful women march around servicing a variety of masked men (no, the lone ranger' s not there), with incense and red robes lending the proceedings a religious undercurrent .
an observant evocation of new york’s literary and bohemian world of more than a half - century ago, “joe gould ’s secret” remains sympathetically engaging even as it sporadically stumbles on its journey through the streets, saloons and salons of greenwich village. distinguished by a fine central performance by ian holm as the titular true - life “character, ” a shabby little man who is a writing genius in his own mind, pic is also marked by a studied directorial style that could be complimented as rigorous when it works and criticized as stiff when it doesn’t. generally favorable critical response and appeal of the story and milieu to sophisticated audiences suggest an ok b. o. future in specialized markets for this usa films release upon its skedded early - april bow .
berman took gould to her home. she cleaned him, fed him, gave him money. after he left, she sent out letters to many people he knew. “joe gould is in bad shape, ” she wrote, as mitchell later recounted. “something must be done about him at once. if it isn’t, some morning soon he and a part of us will be found dead on the bowery. ”
i would judge the sanest man to be him who most firmly realizes the tragic isolation of humanity and pursues his essential purposes calmly ,
he wrote .
i suppose i feel about it in this way because i have a delusion of grandeur. i believe myself to be joe gould .
the scene that everyone will be talking about, of course, is the orgy. as always, kubrick' s visual mastery is beyond reproach. the film' s lush production design and elegant lighting are dazzling, and the elaborate masks that the revelers are wearing during the debauchery create an honestly unnerving atmosphere. but the sheer silliness of what you' re looking at hamstrings the sequence .
vagrant and poet, genius and humbug, gould was one of manhattan' s legendary eccentrics. disheveled, toothless and exasperating even to the collection of artists who supported him with donations, gould was a writer who claimed to be working on the
oral history of time ,
a 9 million - word opus built from overheard conversations .
eighty - two winters ago, on a frigid day in greenwich village, a very little man in a very big coat entered a greek restaurant and asked for free food. his name was joe gould. the year was 1932, the height of the great depression, and the owner offered gould soup and a sandwich. as gould waited for it, a reporter drinking coffee in a nearby booth took him in: his dirty face and bald head and bushy beard and small fingers clasped for warmth. gould made an impression. so did the mention by the owner of the restaurant that this same man was “writing the longest book in the history of the world. ”
the story follows cruise' s character through an absurdly eventful night of almost - sex, but this is the most passive character you' ll ever see in a movie that' s supposed to be about one man' s descent into the darker recesses of his psyche. and don' t let those big block letters that scream cruise. kidman. kubrick. in the ads fool you - - this is tom cruise' s movie. kidman is on camera for 40 minutes, tops, and disappears for the vast majority of the second act. that' s too bad, because the scenes that feature cruise and kidman together are, far and away, the best in the film .
over the years, burke rehabilitation hospital' s campus has been the backdrop for television and film projects. the 61 - acre manicured grounds that include its original neoclassic buildings and graceful colonnades designed by the famed architecture firm of mckim, mead & white, have found their way into both modern day and period productions .
the war was nearly over when, in 1944, gardiner’s old friend john rothschild and his former wife, erika feist, received those letters from berman requesting help for a panhandling poet named gould. a possible patron came immediately to mind .
in essence, gould makes his hard but gutsy way through life endlessly promoting the idea that his unfinished “oral history” is the greatest unpublished literary work of all time. although mitchell is vaguely disappointed with the few excerpts he examines in the school composition books gould shows him, he accepts that the bulk of it is temporarily inaccessible and publishes the admiring profile. celebrity brings gould many letters, a roof over his head courtesy of an anonymous donor, his own table at the minetta tavern and the attention of a big - time publisher, charlie duell (steve martin), who’s interested in the manuscript, if only gould would produce it .
there is a final twist to the story. in 2000, the village voice reported that the archives of new york university contained “11 dime - store composition books that make up a nearly 150, 000 - word diary” by gould — nothing like nine million words, to be sure. the diaries, the voice reported, offered a day - by - day account of gould’s life from 1943 to 1947. gould entrusted the journals to his neighbor harold anton, an abstract painter, who eventually sold them .
the handicaps reach further. before i saw the hunger games i had to watch a trailer for the hobbit (coming at christmas), and it’s clear that this return to tolkien is going to indulge peter jackson’s eye for the romantic grandeur of wild new zealand scenery. the forest is the essential setting for the hunger games and there is a lot of tracking through the trees. but it’s drab, a cheesy and unimaginative landscape compared with jackson’s work or michael mann’s vision of the outdoors in the last of the mohicans. katniss climbs trees to escape from marauders, but we seldom feel we’re in trees, and there’s very little animal life .
«diria que o homem mais são é aquele que mais claramente que qualquer outro compreende a trágica solidão da humanidade e prossegue tranquilamente os seus objetivos essenciais», escreveu. «suponho que penso assim porque tenho a mania das grandezas. penso que sou joe gould. » estou a sentir - me um bocadinho com a mania das grandezas pelo privilégio de ter conhecido joe gould. e grata pelos momentos emocionantes que passei a ler sobre a sua vida. e com ar de tolinha a folhear e reler passagens deste livro maravilhoso. e sem coragem de me separar do homem que imitava as gaivotas. e com o coração a explodir de ternura pelo meu querido vagabundo solitário... . e frustada por não saber o que fazer para convencer toda a gente a lê - lo. a não ser sugerir que quando passarem numa livraria procurem joe gould. e que leiam os comentários de antónio lobo antunes, de salman rushdie, de martin amis, de doris lessing, de julian barnes e de ian mcewan. e que acreditem ...
questo joe gould, personaggio reale, era un eccentrico clochard - letterato. joseph mitchell, che lavorava per il giornale “new yorker”, scrisse su di lui nel 1942 un primo breve “profilo”; successivamente acquisì ulteriori elementi interessanti, tra i quali un “segreto” dell’uomo che ritenne di mantenere tale per non screditarne l’immagine. solo nel 1964, sette anni dopo la morte di gould, scrisse e pubblicò ancora su “new yorker” un secondo “profilo”, molto più corposo ed esauriente. il libro co
the film is more prurient than daring, and whenever there is a lull in the action, the filmmakers bring in a trio of unfunny drag queens. the only way to enjoy the drag queens is to see them as symbolic of the three directors, victims of a style that they can' t quite inhabit - - but flaunting it, all the same. - - advisory: this film contains graphic violence and nudity. mick lasalle. .
today, the campus is regularly visited by film location scouts, architecture buffs, historians and students. it remains a wonderful example of post - victorian architecture, seemingly untouched from when burke opened its doors nearly 100 years ago .
the film feels like it was artfully crafted out of tons of vaguely related footage, with a talky scene near the end playing like frantic thread - tying. (in that scene, co - star sydney pollack systematically deflates everything that we just watched .) there' s certainly little impetus for the adventure william ends up going on .
still, she received it. for much of gardiner’s life and deeds were recorded. there was her memoir. there was her biography. and there were the characters she inspired in other books: “elizabeth” in stephen spender’s memoir world within world and “julia” in lillian hellman’s memoir pentimento (although hellman denied this). but among all the words written about gardiner, there was no mention of gould. and when gardiner died at age 83 in 1985, there was no indication that she had spoken of gould to any but feist and rothschild and marquié and mitchell. they too said nothing publicly and now are gone .
had the oral history been real, and been received with acclaim, it may be that gardiner would have come forward herself. it may be that she would have been “cherished by posterity, ” as gould, in his letter to his unknown patron, had asserted she would be. but giving food and lodging to a dispossessed man is no less heroic than assisting a great book into the world. and almost 70 years ago, joe gould got both from a woman named muriel gardiner .
it is not hard to understand why joe gould might have captured muriel gardiner’s imagination. like her, he loved literature. he had pursued meaning at the expense of comfort. and he had found that meaning in greenwich village, just as she had when, in the summers of 1926 and 1927, she had called the village home and gloried in its egalitarianism and camaraderie, its literary vitality, its freedom —sleeping, as she later wrote, atop its roofs .
born in peekskill, new york, tucci graduated from the acting program at state university of new york at purchase when he was 22 and got his first film role three years later. but he would have to wait ...
fifty years ago tomorrow, a small, bearded, prematurely frail psychiatric patient named joe gould, age 68, died at pilgrim state hospital in brentwood, on long island. for three decades, gould, a harvard graduate from a distinguished new england family, had spent his days and nights wandering the bars and taverns of greenwich village, staying in flophouses, living off the generosity of friends and strangers. he became unexpectedly famous as the subject of a celebrated profile by the writer by joseph mitchell .
joe gould was certainly beat, though, like jack kerouac, proudly not beatnik, one of those mercurial american eccentrics, messianic when it suited him, pathetic when it didn’t, diplomatic or direct when he needed to be. when new yorker writer joseph mitchell first encountered him in the late 1950s, gould was living semi - rough in new york, though he was a harvard graduate and had been a professional ethnographer and a journalist. he was known as professor seagull, and frequented poetry readings ,
an important early sequence - - in which the couple shares a joint and alice winds up telling her husband way too much about her secret sexual fantasies - - is prime kubrick. it' s funny while remaining borderline ugly, the same unnerving vibe that kubrick successfully nurtures in all of
dr. strangelove
( 1964), and, every now and then, in
a clockwork orange
and
the shining
( 1980) .
a special program by american master elmer bernstein, whose work over the past fifty years has defined american film music. the academy award winning composer of more than 200 films will conduct a special music scoring workshop for a select number of participants .
the whole film is like this, with cruise gawking at a variety of kinky activity that neither comments on his stance toward the world nor alters his perceptions of sexuality. it just happens because kubrick has decided to deal with panties and breasts .
the profile, “professor sea gull, ” published in the new yorker on dec. 12, 1942, described a monumental work that gould was writing, “an oral history of our time, ” containing snippets and excerpts of conversations gould had heard, and his essays commenting on those conversations. (
( woodstock, ny) august 20: from the aquarian age to the digital age, the 2001 woodstock film festival presents a stimulating line - up of workshops, panels, seminars and special programs with key film professionals including: elmer bernsein, haskell wexler, albert maysles, leon gast, d. a. pennebaker, chris hegedus, mary harron, karyn kusama, karen durbin, gary winick, martha frankel, stanley tucci, john pierson, betsy mclane, bill plympton and many others .
funny how you stumble onto books. between the ages of fourteen and seventeen, i took art lessons after school from a very eccentric fun and inspiring painter named evelyn leavens. evelyn’s favorite painter was alice neel and she owned a coffee table book of her portraits which we were free to peruse. in that book, there was a shocking nude of a leering old man with multiple penises titled “joe gould”. i’d forgotten all about it, but it must have made an impression because the name immediately ca
st. louis: backstage bite: deluca celebrates the muny' s 100th season w / ooey gooey st. louie bars
it should be noted that the hooker is a wildly optimistic variation on the lost souls who are actually roaming the streets of new york selling sex to strangers. the erotic charge of the film is based solely on the fact that every woman cruise' s character encounters is built like a brick playmate. the underlying complexity of his carnal desires has nothing to do with it .
“i’m sure she had a reason that made sense to her, ” said gardiner’s daughter, connie harvey, 82, who spoke from her colorado home this past summer. “she had her rules. she was very consistent. ” that gardiner had left gould peremptorily was consistent with how she generally ended relationships: “swiftly, absolutely, and with no discussion, ” according to sheila isenberg, in muriel’s war .
pretty cool little biography or character study or whatever you like. some funny parts and well... kind of a bummer in the end. there were a lot of times that i felt like i related to joe gould more than is healthy. here' s a funny passage
i can' t stand them and they can' t stand me, but the hell of it is, i enjoy them and i enjoy their meetings. they' re so bad they' re good. also, after the program they serve wine. also, there' s a high percentage of unmarried lady poets among them, and sooner or la
imagine hamsun' s emaciated artist taking his defiance to greenwich village and living hand to mouth for twenty years. no pawning of underwear and top coats here, the intellectual vagrant would require a different angle. he' d have to shuffle, he would need to embrace his humility. such was what i initially divined to be at the core of mitchell' s book, an outgrowth of piece he wrote on gould in the new yorker in 1942. that isn' t the case. an expose lies at the heart of the tale, but the story of joe gould is a worthy diversion. unfortunately a journalistic argot is employed. it feels like outtakes from preston sturges bent around the worst of jimmy breslin. this is not an illuminating glimpse into the bohemian life, but a sad character story .
eyes wide shut
is the ultimate nudie film. wild sex at the orgy is partially obscured at all times, but the naked women stroll around like they' re looking for detergent at an a & p. there' s also bad language. the entire movie is encapsulated in one shot, during which cruise verrrrry slowly leans in to kiss a well - built female corpse, then verrrrry slowly pulls back without doing it. rated r. better bring a lunch: it' s 159 minutes long .
joseph mitchell virou referência pela qualidade de seu texto e por dar vida aos anônimos de nova york nos longos perfis que escrevia. são essas as duas observações que mais se repetem sobre o autor, mas “o segredo de joe gould” também põe abaixo dois dogmas do jornalismo: o “compromisso com a verdade” e as fórmulas ortodoxas sobre como escrever uma reportagem. isso, mais de 40 anos atrás. fascinante .
joseph ferdinand gould was born in the fall of 1889 in an apartment above a meat market in norwood, massachusetts. his father and grandfather were doctors. but gould hated the sight of blood—he once fainted when he saw the family cook kill a chicken—and on top of that was “ambisinistrous, ” as he later put it to mitchell: as clumsy as a person with two left hands. and so, when gould told his father, at roughly age 13, that he too wished to be a doctor, his father answered, “that’ll be the day. ” the words still pained gould when he recalled them to mitchell four decades later .
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mitchell did not write again about gould until two decades later. by then, gould was dead and mitchell was considered “the greatest living reporter” (at least by lillian ross of the new yorker). mitchell in the interim had also learned something remarkable: the oral history did not exist. it was a complete figment. gould had looked up at mitchell with his conjunctival eyes, and flat - out lied. gould had written nothing more, as mitchell later noted, than a few repetitive thoughts about tomatoes, indians, and the deaths of his parents. but no matter. mitchell regarded gould as a form of performance art. and looking back at him, mitchell had seen something greater than a great book: a kindred spirit, a fellow outsider and peripatetic aspiring to catalogue life in the big city .
in man in profile: joseph mitchell of the new yorker, a thoughtful and sympathetic new biography, thomas kunkel—who delved into the magazine’s history for his earlier biography of its founding editor, harold ross—pores over mitchell’s archive in an attempt to figure out how the writer created those memorable pieces, as well as what he might have been working on in those final decades. what kunkel finds may distress mitchell’s fans. not only did mitchell’s use of composite characters go beyond what he acknowledged during his lifetime, but some of the key scenes in his best - known profiles appear nowhere in his notes and may also have been invented. by current standards, which privilege fact - checkability over storytelling, and data over character, mitchell—“a national treasure, ” in kunkel’s words—would likely be denounced as a fabricator. but if today’s literary journalism no longer has room for a category - defying writer like mitchell, the problem isn’t him—it’s us.
joe gould 's secret is a 2000 american drama film directed by stanley tucci . the screenplay by howard a. rodman is based on the magazine article professor sea gull and the book joe gould 's secret by joseph mitchell . 
joe gould's secret is a 2000 american drama film directed by stanley tucci. the screenplay by howard a. rodman is based on the magazine article professor sea gull and the book joe gould's secret by joseph mitchell.
joe gould's secret is a 2000 american drama film directed by stanley tucci. the screenplay by howard a. rodman is based on the magazine article professor sea gull and the book joe gould's secret by joseph mitchell.