Let’s Be Real: Let’s Be Cops, Cop Movies, and the Shooting in Ferguson by Wesley Morris at Grantland
There’s been little on Twitter for the past week besides the turmoil in Ferguson, and we’re not the end of it yet. Meanwhile, pop culture continues anyway, though the producers of Let’s Be Cops might wish they could reconsider their release date. Wesley Morris’s essay (it’s not a review, in the strictest sense, though there is criticism here) combines cinema and history in the making in a way that’s not often seen, and it excellent on both fronts. There’s been more ink spilled on Ferguson already than I could possibly round up, but I also found this article from RogerEbert.com’s Far-Flung Correspondent Omer M. Mozaffar to be very compelling reading.
All movies choose their moment. It’s called a release date. Some moments, however, choose their movies. And it looks as if the moment has chosen Let’s Be Cops. But let’s be clear: No one should choose this movie. It’s a title in search of a plot. It could also have been called Let’s Be Funnier, Let’s Be Directed, Let’s Be 15 to 30 Minutes Shorter, Let’s Be 22 Jump Street. Right now, though, this is our only movie starring law enforcement run amok, at a moment when much of the nation is outraged that actual law enforcement is doing the same.
Lauren Bacall: 1924-2014 by Dan Callahan at RogerEbert.com
When the news of Lauren Bacall’s death hit last week just one day after Robin Williams’ death, I mentioned on Twitter that as tragic as Williams’ death was, Bacall’s hit me in a deeper place, not because dying at 89 of a stroke is even comparably tragic compared to dying at 62 of suicide, but merely because Bacall and her movies meant more to me personally. I grew up on classic film, and the films of Bogart and Bacall in particular were central to me in much the same way I assume Williams’ films were central to people of my generation who grew up watching contemporary film. In any case, because of that personal bias, I admit that I have read very few of the articles eulogizing Williams, and very many of the articles eulogizing Bacall, and that is why I have one and not the other on this Roundup. This particular one from Dan Callahan is lovely, evocative, and acknowledges Bacall’s insecurities. This one by Karen of Shadows and Satin focuses on Bacall’s early career with just as much warmth, love and insight. And this one by NPR’s Linda Holmes discusses Bacall’s inimical ability to convey sex without sex. I also enjoyed reading tributes from Jennifer Garlan, Noel Murray, Glenn Kenny, and photo and quote galleries from Carly Johnson and Kimberly Lindbergs.
Bacall walks with feline grace in “To Have and Have Not,” and part of what makes her so distinctive and touching in that movie is the just noticeable strain she is under to perform and act more than her age. She manages all of that with style, with aplomb, and the picture was a triumph for her, as was “The Big Sleep.” And then some! Her Slim in “To Have and Have Not” and particularly her Vivian Rutledge in “The Big Sleep” are flawless fantasy creations, all lush hair and pouting lip and smart, poking attitude. Bacall and Bogart in those movies make the lead-up to sex, the jabs and put-ons and badinage, seem just as much fun as the no-doubt satisfying sex itself.