DOCSLIB.ORG

Don't Act Your Age - Harry, Tonto, Paul, and You

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Don't Act Your Age - Harry, Tonto, Paul, and You July 4, 2014 Don't Act Your Age - Harry, Tonto, Paul, and You Jeffrey Sonnenfeld, Senior Associate Dean, Lester Crown Professor of Management Practice, Yale School of Management At age 44, the maverick satirical filmmaker Paul Mazursky wrote and directed Harry & Tonto, chronicled an old man's unexpected late life struggle against society's selfish coercive pressures to relocate, institutionalize, and infantilize him back into a state of docile dependency. This week, 40 years later, Mazursky, at age 84, himself, became the ultimate victim of aging but not the victim of ageism. He beat ageism by not allowing others define him as "past his prime," "last year's model," "over-the-hill," and any of the other euphemisms aspiring middle-aged combats use to push aside those who appear to block their own career paths. Robert McFadden wrote in his New York Times obituary: Mr. Mazursky was a show-business rarity, almost never out of work in a run of six decades that began as a stage and screen actor in the early 1950s and was still adding credits at the time of his death... For all that, there was an ageless quality about him. Associates said he had boundless energy, the rapid patter of a stand-up comic and an actor's gift for memory. This was the parallel goal of Mazurky's character Harry Combs of Harry & Tonto-- the roles so poignantly played by 55-year-old Art Carney, who earned an Oscar for "Best Actor." As a retired school teacher in his 70s, widower Harry was living in a decaying building where his apartment was a museum of memories -- all artifacts of a life that had past. His existence was defined by his daily routine errands where he shared the sarcastic bitterness towards present society with other lonely disenfranchised seniors, by his nostalgia for his lost wife and profession, and finally by his loyal companion -- a cat he named Tonto. The other "lone rangers" he visits on the frontiers of old age search for lost purpose in their lives. They are dismayed over the changes in their lives ranging from lost loved ones to lost careers, ranting about those with greater control who seemed to be the source of their problems, from street muggers and 1 politicians to their own offspring. At first we laugh at their eccentricities, but by the end of the film, they are no longer cyphers in an urban landscape but familiar friends with rich life dramas and current interests we have come to appreciate. Harry's opening soliloquy follows a mugging scene, a near hit by a speeding motorist, as he hums the tune "Boulevard of Broken Dreams" to his friend Tonto. Would you believe it Tonto? Mugged four times this month... It was a wonderful neighborhood. It's running down. Where would I go and live? I still know a lot of people around here. If you know people, that's home. Soon after he drifts to sleep, only to be forcibly evicted by police as a wrecking ball is about to raze his crumbling home. Freed from this exile to memories, Harry begins an odyssey through the highly stressed, miserable, middle-aged lives of his well-educated children as they struggle with unhappy relationships and careers along with the distress of various other frustrated younger people -- all eager to sell Harry things he doesn't need and to warehouse him away from the mainstream. He wants to live on his own without controls. He wants to travel to new places. He wants to dance with an old lost girlfriend, Jessie, now suffering dementia -- but who has flashing moments of recall with him when they dance. He wants to say farewell to the corpse of his lonely close friend, Jacob. He bonds with young people along the way and wants to return to teaching. Yet, with each effort, he is patronized and insulted by middle-aged people in airports, casinos, nursing homes, and morgues as he travels to visit friends. Harry is labelled as a bother to them and a confused, stubborn old man. The scolding refrain of these ageist antagonists as they attack Harry's defiant desire for independence is "Harry, act your age!" At same time, Harry also encounters many happy, healthy seniors engaged and enthusiastic about life, ranging from a used car salesman, an organic drug salesman, a Native American medicine man, and a cat sitter. Their retort to the "act your age" admonitions was always "I love my work!" While we mourn the painful deaths of his close friend Jacob and his loyal buddy Tonto, by the end, we see that through Harry's odyssey, he has returned to life in the present -- regaining his wit and optimism. On the beaches of Santa Monica, as he writes to an old New York friend about his new life as a school tutor, he chases a cat identical to his lost pal Tonto -- that takes him to a little girl on the beach who invites him to help her with her sandcastle. We once laughed at Harry, cried with Harry, but now we laugh with him. By the end, the once cynical Harry has returned to the mainstream of life and become the happiest character in the film. Similarly, one can only imagine Mazursky happy and fulfilled. Soon after Harry & Tonto came out, film critic Richard Corliss reflecting on Blume in Love, I Love You Alice B. Toklas, and Bob & Carol & Ted & Alice wrote for the New York Times, that Mazursky had "created a body of work unmatched in contemporary American cinema for its originality and cohesiveness." That was before he delivered such landmark social satires as An Unmarried Woman, Moscow on the Hudson, Down and Out in Beverly Hills, Scenes from A Mall, and Enemies: A Love Story, to name just a few classics of the 1980s before even considering his continuing contributions to biting social satire such as Larry David's Curb Your Enthusiasm. He loved his work and refused to act his age. 2 Harry's triumphant mission to be recognized as independent, intelligent contributor through late life was Mazursky's own game plan. Other landmark films such as Sunset Boulevard or On Golden Pond show surrender to the ravages of age. The songbook of aging is vast but the lyrics offer no answer except the silent suffering of loss: "Sunrise, Sunset" (Fiddler on the Roof); "Turnaround Little Girl" (Perry Como); "When I Was 17" (Frank Sinatra); "The Circle Game" (Joni Mitchell); "No Time Left for You" (The Guess Who); "Time is on My Side" (Rolling Stones); "When I'm 64" (Beatles); "Hello in There" (John Prine); Your Were the Wind Beneath my Feet (Bette Midler). Mazursky offered a battle cry against age -- don't let your spirit die until the machine gives out. Dylan Thomas advised, "Do not go gentle into that good night. Old age should burn and rave at close of day; rage, rage against the dying of the light." Many of us struggle with the cruel realities of aging through fear, avoidance, denial and spoofing, but few of us do it at all at once as Mazursky did in celluloid as well as in real life. As a 20-year-old watching this film with my parents at a suburban Philadelphia theater, I came to further appreciate the later-life needs of seniors, including my parents -- my parents as they resisted hasty late-life agendas scripted for them by callous health care providers and other impatient institutions. As a management scholar, I presented research that showed that workers in late life -- including even CEOs -- have much to offer through their elevated work ethic, accumulated life wisdom, insightful judgment, and mentoring spirit. Truly one of my "oldest" friends, financier Albert H. Gordon continued active through his final days at age 107, with his portfolio up 15 percent in final year of life, 2009, with the markets in turmoil... as well as he had done in 1929. His friend, former Goldman CEO John Whitehead at 92 continues active as well, as his fellow financier and fellow hero in World War II from Normandy Beach, Maurice (Hank) Greenberg, who heads the vibrant CV Starr at age 89. We could add to that the still very active and wise Jack Bogle (85), founder of Vanguard, or the active William Donaldson (83), our 27th Chairman of the SEC. Surely we have seen in the arts and in politics parallel priceless septuagenarians, octogenarians, and nonagenarians as choreographer Martha Graham (97) ; President Ronald Reagan (in office at age 78); Frank Lautenberg as senator until he was 89; and revered diplomatic Averill Harriman (94). Now how could someone seriously question 66-year-old Hillary Clinton's candidacy on age concerns? Dignity, independence, and continued contribution are easily as important to us as time for relaxation. Stress reduction is important at all ages. Attentive care for the disabled is vital at all ages. Warehousing healthy older people does not reduce stress and causes injustice plus waste. We need to reconsider our overly therapeutic society's commercial push for convalescence and infantilizing recreation. Thus, for the last 34 years, I've required all my MBA students, largely aspiring leaders in their mid-20 to mid-30s, to view Paul Mazursky's Harry & Tonto to see the world through the eyes of someone decades older. Jeffrey Sonnenfeld is the Lester Crown Professor of Management Practice and Senior Associate Dean at the Yale School of Management. A past member of boards of the AARP and the National Council on Aging, he is the author of The Hero's Farewell (Oxford University Press).
Load more

Recommended publications
  • Can Diversity in the Boardroom Quell Corporate Corruption? Steven A
    Loyola University Chicago, School of Law LAW eCommons Faculty Publications & Other Works 2003 Flaw in the Sarbanes-Oxley Reform: Can Diversity in the Boardroom Quell Corporate Corruption? Steven A. Ramirez Loyola University Chicago, School of Law, [email protected] Follow this and additional works at: http://lawecommons.luc.edu/facpubs Part of the Securities Law Commons Recommended Citation Ramirez, Steven, Flaw in the Sarbanes-Oxley Reform: Can Diversity in the Boardroom Quell Corporate Corruption, St. John’s L. Rev. 837 (2003). This Article is brought to you for free and open access by LAW eCommons. It has been accepted for inclusion in Faculty Publications & Other Works by an authorized administrator of LAW eCommons. For more information, please contact [email protected]. A FLAW IN THE SARBANES-OXLEY REFORM: CAN DIVERSITY IN THE BOARDROOM QUELL CORPORATE CORRUPTION? STEVEN A. RAMIREZt INTRODUCTION Why talk about the intersection of race and corporate law? Because that is literally where the money is. Corporations produce ninety percent of our total gross domestic product.1 The top 500 corporations control seventy-five percent of our nation's most productive assets.2 In a society that is as materialistic as ours, to talk about any systemic racial reform without discussing corporate governance misses this central point.3 In short, if our society continues to be permeated by the consequences of yesteryear's apartheid, it is axiomatic that corporate governance f Professor of Law and Director, Business and Transactional Law Center, Washburn University School of Law. Courtney T. Kennedy and Brian Perkins provided excellent research assistance for this Article.
    [Show full text]
  • LEADING and MANAGING GLOBALLY VP+ Directors Managers with YALE SCHOOL of MANAGEMENT and INTERNATIONAL INSTITUTE for MANAGEMENT DEVELOPMENT (IMD)
    Target Audience LEADING AND MANAGING GLOBALLY VP+ Directors Managers WITH YALE SCHOOL OF MANAGEMENT AND INTERNATIONAL INSTITUTE FOR MANAGEMENT DEVELOPMENT (IMD) Companies around the world have gone global at an accelerated speed. Yet many companies are not fully prepared for a world in which the biggest business opportunities are global in nature and scope. Executives in the six-week program, Leading and Managing Globally, acquire the global mindset and competencies needed to effectively lead in this world, from bridging cultural divides, to PROGRAM STRUCTURE recognizing more deeply the sources of organizational power and information flow, to overcoming barriers to change. Time Commitment: 6 weeks/ 5 flexible hours per week USE INFORMAL AUTHORITY TO IDENTIFY AND BRIDGE CULTURAL LEAD EFFECTIVELY IN A MATRIXED CREATE ALIGNMENT AND CHANGE DIFFERENCES ACROSS DISTANCE GLOBAL ORGANIZATION Format: Self-paced with live faculty and team Improve management of global Identify sources of informal Overcome resistance to change interactions power and leverage your virtual teams across cultural, and achieve team integration and language and time differences network of relationships alignment within complex matrixed Output: Action plan with to influence those sources structures concrete roll-out strategy Use cultural decentering Manage interdependence techniques to diagnose cultural Define new metrics and KPIs to between organizational units differences and avoid team align purpose and drive FACULTY and foster knowledge flows conflicts arising from misaligned
    [Show full text]
  • The New Hollywood Films
    The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.
    [Show full text]
  • Good Governance and the Misleading Myths of Bad Metrics
    ஽ Academy of Management Executive, 2004, Vol. 18, No. 1 ........................................................................................................................................................................ Good governance and the misleading myths of bad metrics Jeffrey Sonnenfeld In the aftermath of the well-publicized corruption governance metrics ratings services, the best and malfeasance in several large public corpora- known of which are Institutional Shareholder Ser- tions, especially at the executive and board levels, vices (ISS) and Governance Metrics International investors and analysts are searching for manage- (GMI). While firms such as Moody’s and The Cor- ment tools to measure the vulnerability of firms to porate Library use a wide mix of criteria to evalu- dishonesty, fraud, and corruption. While this effort ate companies, including their openly qualitative to improve governance through uniform guidelines judgment, ISS and GMI rely more on crisp numer- is understandable, at times boards and companies ical scoring systems. Some even believe that it is are reaching out for any life preserver that comes dangerous for firms to challenge the influential ISS along. Some firms are capitalizing on this desper- and GMI ratings services, given the attention paid ation by setting themselves up as corporate gover- to them by credit analysts, institutional portfolio nance experts. In 1999, when William Donaldson managers, and liability underwriters.3 was chairman of Aetna, he said prophetically, “I ISS and GMI look at public records to score firms fear that there is a growing cottage industry of on their governance effectiveness by using sim- superficial thought about corporate governance.”1 plistic checklists of standards or metrics based The swelling number of governance consultants heavily upon cliche´s and myths, rather than on has made Donaldson’s statement truer than ever.
    [Show full text]
  • Power & Politics
    POWER & POLITICS Langone (Draft) MGMT-GB.3366.10 Fall 2017 Professor R. Kabaliswaran Office: KMC 7-56 Class: KMC 4-80 E-mail: [email protected] (best way to reach me) Class Hours: W 6:00:9:00. Dates: 9/27-12/20. Office Hours: Usually an hour before class and by appointment Deliverables: My Constituency Map due session 7. One individual midterm case report due session 9. Class Reflection Journal: Do each session on previous session’s case/s and discussion. Put it all together , broken by session, and post as ONE word document before last class session. No need for journal write up on content of midterm case session and the last session. One take-home final due last session. Welcome to the elective course in Power & Politics! Course Theme Politics is not a dirty word! We just got to learn how to play good politics and keep out bad politics. By the same logic, power by itself does not necessarily corrupt though absolute power may corrupt absolutely. In other words, this course is about how to conquer the world, or at least survive the corporate jungle, without losing our soul. Even if you don’t want to play politics, good or bad, you still need the skills from this course to ensure that you don’t become a victim of politics. Course Objectives • Understanding what power is: People often have a misperception of what power, the basis of political behavior, really means. By the end of this course you should be able to have not only a conceptual understanding of what power is within an organizational context but a practical grasp of what the actual sources of power are.
    [Show full text]
  • E Office of the City Engineer Los Angeles
    ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles California To the Honorable Council Of the City of Los Angeles Honorable Members: C. D. No. 13 SUBJECT: Hollywood Boulevard and Vine Street - Walk of Fame Additional Name in Terrazzo Sidewalk- PAUL MAZURSKY RECOMMENDATIONS: A. That the City Council designate the unnumbered location situated one sidewalk square northerly of and between numbered locations 12H and 12h as shown on Sheet # 16 of Plan D-13788 for the Hollywood Walk of Fame for the installation of the name of Paul Mazursky at 6667 Hollywood Boulevard. B. Inform the Hollywood Chamber of Commerce of the Council's action on this matter. C. That this report be adopted prior to the date of the ceremony on December 13,2013. FISCAL IMPACT STATEMENT: No General Fund Impact. All cost paid by permittee. TRANSMITTALS: 1. Unnumbered communication dated November 5, 2013, from the Hollywood Historic Trust of the Hollywood Chamber of Commerce, biographical information and excerpts from the minutes of the Chamber's meeting with recommendations. City Council - 2- C. D. No. 13 DISCUSSION: The Walk of Fame Committee of the Hollywood Chamber of Commerce has submitted a request for insertion into the Hollywood Walk of Fame the name of Paul Mazursky. The ceremony is scheduled for Friday, December 13,2013 at 11:30 a.m. The communicant's request is in accordance with City Council action of October 18, 1978, under Council File No. 78-3949. Following the Council's action of approval, and upon proper application and payment of the required fee, an installation permit can be secured at 201 N.
    [Show full text]
  • AMERICAN MOVIES in THEIR MOMENT: the SILVER AGE, 1968-1980 History 277A/FMS 245 Spring 2020 MW 11.50-13.05 Morey 525 Robert West
    AMERICAN MOVIES IN THEIR MOMENT: THE SILVER AGE, 1968-1980 History 277A/FMS 245 Robert Westbrook Spring 2020 440 Rush Rhees X59349 MW 11.50-13.05 Hours: W 1.30-2.30 Morey 525 [email protected] Is a dream a lie if it don't come true/Or is it something worse? --Bruce Springsteen, "The River" (1980). This course, one of two movie courses I offer, considers feature films as evidence for the cultural historian of modern America by considering the role of movies in the social imaginary of distinct moments in the nation's history. That moment for this iteration of the course is the "Seventies" (1968-1980). FILMS AND READINGS The films can all be found on reserve in the Art and Music Library, on line, or for purchase as DVDs. Some of them will be streamed via Blackboard. There is one book required for the course: Beth Bailey and David Farber, eds., America in the Seventies. I have ordered copies at the UR Bookstore, and it is available at Amazon and other on-line vendors (often at reduced prices). It is also are on 2-hour reserve in Rush Rhees Library. Other short readings will be available on Blackboard. COURSE REQUIREMENTS Class Participation: All students are expected to attend each class and actively participate in the discussions of the films. 2 Papers: There will be no examinations in the course. Each student will write four papers, three short (1500-2000 word) essays and one longer (3000-3500 word) paper, requiring some modest research. The first of the short papers will be an analysis of what you regard as a pivotal scene from one of the assigned films.
    [Show full text]
  • "The Writer Speaks" Oral History Collection
    http://oac.cdlib.org/findaid/ark:/13030/c8gt5vgn Online items available "The Writer Speaks" Oral History Collection Finding aid created by Writers Guild Foundation Archive staff using RecordEXPRESS Writers Guild Foundation Archive 7000 West Third Street Los Angeles, California 90048 (323) 782-4680 [email protected] https://www.wgfoundation.org/archive/ 2021 "The Writer Speaks" Oral History WGF—IA—001 1 Collection Descriptive Summary Title: "The Writer Speaks" Oral History Collection Dates: 1994-2013 Collection Number: WGF—IA—001 Creator/Collector: Extent: 63 interviews; approximately 90 hours of video footage Online items available https://www.youtube.com/playlist?list=PL1cpvBEDotV7pSBwLB55MhqSmZ5O831Bc Repository: Writers Guild Foundation Archive Los Angeles, California 90048 Abstract: “The Writer Speaks” interview series, conducted by the nonprofit Writers Guild Foundation from 1994 to 2013, consists of 63 videotaped oral history interviews with prominent film and television writers. Interviewees include Billy Wilder, Robert Towne, Julius Epstein, Garry Marshall, James L. Brooks, Norman Lear, Carl Reiner, William Goldman and Sidney Sheldon. Among the major topics discussed are early childhood, inspiration and influence, big breaks, career milestones, process and craft, the Hollywood blacklist, and advice to aspiring writers. The collection is available on DVD as well as on the Writers Guild Foundation’s YouTube channel. Language of Material: English Access Access to this collection is unrestricted. Publication Rights The rights belong to the Writers Guild Foundation. Please contact the Archive for requests to reproduce or publish materials. Preferred Citation "The Writer Speaks" Oral History Collection. Writers Guild Foundation Archive Acquisition Information The series was produced by the Writers Guild Foundation between the years 1994 and 2013 and is part of the institutional archive.
    [Show full text]
  • The Casting Director Guide from Now Casting, Inc
    The Casting Director Guide From Now Casting, Inc. This printable Casting Director Guide includes CD listings exported from the CD Connection in NowCasting.com’s Contacts NOW area. The Guide is an easy way to get familiar with all the CD’s. Or, you might want to print a copy that lives in your car. Keep in mind that the printable CD Guide is created approximately once a month while the CD Connection is updated constantly. There will be info in the printable “Guide” that is out of date almost immediately… that’s the nature of casting. If you need a more comprehensive, timely and searchable research and marketing tool then you should consider using Contacts NOW in NowCasting.com. In Contacts NOW, you can search the CD database directly, make personal notes, create mailing lists, search Agents, make your own Custom Contacts and print labels. You can even export lists into Postcards NOW – a service that lets you create and mail postcards all from your desktop! You will find Contacts NOW in your main NowCasting menu under Get it NOW or Guides and Labels. Questions? Contact the NowCasting Staff @ 818-841-7165 Now Casting.com We’re Back! Many post hiatus updates! October ‘09 $13.00 Casting Director Guide Run BY Actors FOR Actors More UP- TO-THE-MINUTE information than ANY OTHER GUIDE Compare to the others with over 100 pages of information Got Casting Notices? We do! www.nowcasting.com WHY BUY THIS BOOK? Okay, there are other books on the market, so why should you buy this one? Simple.
    [Show full text]
  • Art at FCC Young, "Especially Black Students Should Rea- in Major Art Institutions Has for the Most Lize Life Is Difficult
    20 ARTS federal City College artists William Derrick—Preacher Calvin tfatkins—Seated Figure John Armstrong—Design II Carol Ball—Fish The large number of art classes now of- The exhibit grew out of a steadily grow- fered at FCC recalls the strides made since its ing and improving relationship between the beginning in 1968 when the art department con- NCFA and the FCC art department. An increase sisted of three faculty members and two rooms. in opportunities for black art students to work Today there are three well-equipped floors of in art institutions is precisely what young ART black art professionals and teachers feel is workshops and studios and ten faculty members who are trying, and apparently succeeding, in most needed to better prepare younger blacks inspiring their students with attitudes of for jobs in art that will permit them to be- hard work, discipline and no shortcuts. "For come part of the system which evaluates art. one thing," says art department chairman Chuck Chuck Young of FCC and others feel black input Art at FCC Young, "especially black students should rea- in major art institutions has for the most lize life is difficult. In some institutions part been on a one-shot basis, as for example ANDREA 0. COHEN the attitude of just doing your own thing has at the National Gallery, which reverted to be- done more harm than good, because your own ing an all-European museum after mounting its "FIVE Years Later," an exhibit of Federal thing may be no thing. You must find what's African exhibit.
    [Show full text]
  • SHSU Video Archive Basic Inventory List Department of Library Science
    SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films.
    [Show full text]
  • Bad Lawyers in the Movies
    Nova Law Review Volume 24, Issue 2 2000 Article 3 Bad Lawyers in the Movies Michael Asimow∗ ∗ Copyright c 2000 by the authors. Nova Law Review is produced by The Berkeley Electronic Press (bepress). https://nsuworks.nova.edu/nlr Asimow: Bad Lawyers in the Movies Bad Lawyers In The Movies Michael Asimow* TABLE OF CONTENTS I. INTRODUCTION .............................................................................. 533 I. THE POPULAR PERCEPTION OF LAWYERS ..................................... 536 El. DOES POPULAR LEGAL CULTURE FOLLOW OR LEAD PUBLIC OPINION ABOUT LAWYERS? ......................................................... 549 A. PopularCulture as a Followerof Public Opinion ................ 549 B. PopularCulture as a Leader of Public Opinion-The Relevant Interpretive Community .......................................... 550 C. The CultivationEffect ............................................................ 553 D. Lawyer Portrayalson Television as Compared to Movies ....556 IV. PORTRAYALS OF LAWYERS IN THE MOVIES .................................. 561 A. Methodological Issues ........................................................... 562 B. Movie lawyers: 1929-1969................................................... 569 C. Movie lawyers: the 1970s ..................................................... 576 D. Movie lawyers: 1980s and 1990s.......................................... 576 1. Lawyers as Bad People ..................................................... 578 2. Lawyers as Bad Professionals ..........................................
    [Show full text]