Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
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An aspiring Jewish actor moves out of his parents' Brooklyn apartment to seek his fortune in the bohemian life of Greenwich Village in 1953. He struggles to come to terms with his feelings about his mother's overbearing nature, while also trying to maintain his relationship with his girlfriend. Written by
When I think of this film, I think of my older brother's generation,
graduating from high school about 1956, and from college about 1960.
Mazursky catches the look of a certain kind of young people of that era,
their fashions, their expressions, their masks and identities. There's a
sense of confusion and discovery, or rejection of the restrictions of middle
class culture and their embracing of a murkily-defined bohemian alternative,
and the disruption that brings to their lives, culturally, socially,
The film also reminds me of my years spent living near and wandering around
Greenwich Village, 1966-70. Some of the kinds of people Mazursky shows were
still there, ten years older, either mystified or amused or annoyed by the
hippie hoards invading them. Honky-tonk, high rents, and mass culture
bohemianism had arrived.
Mazursky gets this right. I don't know how this picture would play to those
not interested or affected by the sociology time capsule, but I think it
still would play.
And hats off to Shelly Winters, once again playing an impossible mother.
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