MDMD: Print the legend but don't mention Coppola!

[Paul Nightingale]

John,

I agree with what you say about Eastwood's films. The westerns are so much
better. It's certainly curious that his 'now' films - the Harrys, Misty as
well - are somewhat distasteful, authoritarian; whereas the westerns are, to
my mind anyway, radical critiques, both of the genre and of authoritarianism
(Clint himself usually sounds a nice chap, and he does like jazz, but he is
a Republican, after all). It points to genre-based criticism being more
important, more fruitful, than a one-dimensional auteur theory (the films,
like Pynchon's - or anyone else's - novels are produced by society). High
Plains Drifter and Pale Rider (my personal favourite, perhaps, although
Unforgiven might be 'better') have a degree of magical realism that, it
seems, would've been impossible in one of the Harry films.

There is conflict in any text: a lot of machismo in Springsteen's songs,
even while they express (some of) the pains of blue-collar life ("working
hard all day, trying to get my hands clean"). Pat Garrett and Billy the Kid
is the one with a Dylan soundtrack - I'm not sure, but I think the first
version released had a longer version (for commercial reasons, clearly) of
Knocking on Heaven's Door; the subsequent director's cut is better.

Why is Coppola overrated? Who would remember The Godfather if it weren't for
Brando's hamming and Pacino? Why is Oliver Stone incapable of making a film
worth seeing twice? These are key questions for faceless committees to deal
with. But I can't allow myself to send this post without, finally, asking if
you really think there are nutters on this list - surely not!