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By MCN Editor editor@moviecitynews.com

“Raise A Glass To Peter” Fonda

Peter Fonda

8 Responses to ““Raise A Glass To Peter” Fonda”

  1. Pete B. says:

    He made a great Mephistopheles in 2007’s Ghost Rider!
    (Got tired of seeing “No Comments” for this post.)

  2. movieman says:

    I recently rewatched Fonda’s directing debut, 1971’s “The Hired Hand,” and thought it was a lost (minor) New Hollywood masterpiece.
    First saw it on a double-bill w/ Hopper’s “The Last Movie” in March 1972 when I was in 8th grade and hated both of them, lol.

    Now I think “Last Movie” is possibly Hopper’s best film, and “HH”…well, I already said how I feel about it in the opening line.

  3. Paul N says:

    First Fonda movie I remember scared me silly. It was that “classic” Race with the Devil. Nighttime creepy fun. Always thought he was one of those lucky guys that got to rid the family fame. Definitely came around to him having his own voice once I got a bit older. Was one of those “cool as a cucumber” dudes for sure.

  4. spassky says:

    “Now I think “Last Movie” is possibly Hopper’s best film, and “HH”…well, I already said how I feel about it in the opening line.”

    Aww man what about “out of the blue”? Downright masterpiece, that one.

  5. Ray Pride says:

    OUT OF THE BLUE has nearly completed financing of its restoration, due in part to classic status within Canadian cinema.

  6. movieman says:

    Not a huge “Out of the Blue” fan, Spassky. I just watched it again a few months ago, in fact.
    But 1988’s “Colors”–which, in so many ways, feels like a Hopper outlier–is a really fantastic movie w/ great Duvall and Penn performances.

  7. spassky says:

    There’s some REALLY iffy stuff in “Colors” politically, representationally, etc… but some fiery performances, and a definite vision, for sure.

    I’ve been checking out the restoration of OUT OF THE BLUE, but really REALLY wish they’d come up with a print.

    “classic of canadian cinema”…? lol, vancouver being a character etc… but if we are going to label every american film produced in vancouver as canadian, well… that’d be interesting. I guess it was all canadian financing, and the presence of mr burr definitely brings up the point in an interesting if all together misguided way… I would definitely categorize its aims as being those of making an american film (whatever the fuck that means), in similar ways to his earlier two films… that’s an interesting discussion for sure.

  8. spassky says:

    oh but back to peter fonda… IDAHO TRANSFER is a hidden gem… while I never thought P. Fonda was superlative as a director or actor or icon really.. he was always there, fighting the good fight, trying for something and desperately swimming against the tide

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“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima

“They’re still talking about the ‘cathedral of cinema,’ the ‘communal experience,’ blah blah. The experiences I’ve had recently in the theatre have not been good. There’s commercials, noise, cellphones. I was watching Colette at the Varsity, and halfway through red flashes came up at the bottom of the frame. A woman came out and said, ‘We’re going to have to reboot, so take fifteen minutes and come back.’ Then they rebooted it from the beginning, and she had to ask the audience to tell her how far to go. You tell me, is that a great experience? I generally don’t watch movies in a cinema at all. Netflix is the future. It’s the present. But the whole paradigm of a series, binge-watching, it’s quite different. My first reaction is that it’s more novelistic, because if you have an eight-hour season, you can get into complex, intricate things. You can let it breathe and the audience expectations are such that they will let you, where before they wouldn’t have the patience. I think only the surface has been touched with experimenting with that.”
~ David Cronenberg