By John Manderino
Whilst Hitchcock's "The Birds", started exhibiting in the summertime of 1963 on the Dolton Theater, the starlings of Riverside, Illinois introduced their assaults. They have been 'black, freckled, oily-looking things' with 'tiny black buttons for eyes.' They carried off Skippy Whalen's baseball cap, pooped on Father Rowley's finger, and attacked a feisty little puppy named Tuffy who fought them off. 'I blamed Alfred Hitchcock' says the writer, a Catholic grammar institution scholar on the time.In this comedian, witty memoir, John Manderino indicates us how the pivotal issues of his lifestyles were enmeshed with motion picture moments. "Crying at Movies" provides thirty-eight succinct chapters, every one bearing the identify of a film."Brief Encounter", the final bankruptcy, unearths our movie-seeking Everyman hiding in his girlfriend's rest room so she won't see him crying over the ultimate scene. "Crying at Movies" is straight away a love-letter to an paintings shape and a funny appreciation of the differences among motion picture scenes and life's realities.
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Extra info for Crying at Movies: A Memoir
11–18. ASC01 09/10/2003 03:37 PM Page 1 Part I INTRODUCTION Let him kiss me with the kisses of his mouth! 2) ASC01 09/10/2003 03:37 PM Page 2 Figure 1 Reading the Body Leonard (Guy Pearce) and Natalie (Carrie-Anne Moss) in Memento (Christopher Nolan, USA 2000). Photo: British Film Institute. ASC01 09/10/2003 03:37 PM Page 3 Chapter 1 DESIRING BODIES The scene opens with a close-up of Leonard’s face, Guy Pearce’s face: stubbled, sharply boned, handsome, with bleached hair and two scratches on his left cheek.
Who is he? How did he get there? Or, finding the bed unfamiliar, how did you get here? And then you remember. But in the moment before you recall how his body came to be lying beside your own, perhaps still sleeping, you are disconcerted by his presence, by the warmth of his flesh. Even as you seek to name him, your own identity is disturbed, dislocated, for a moment undone, rendered indeterminate. The space between your bodies becomes a distance within yourself, opening between ‘consciousness’ and ‘identity’.
ASC01 09/10/2003 03:37 PM Page 3 Chapter 1 DESIRING BODIES The scene opens with a close-up of Leonard’s face, Guy Pearce’s face: stubbled, sharply boned, handsome, with bleached hair and two scratches on his left cheek. 1 We hear his thoughts as he pulls them together, out of sleep. ’ An observation and a question, as if he had to name the experience of awakening in order to imagine and remember it as his own experience. And indeed, forgetting and imagining is Leonard’s constant condition in Christopher Nolan’s film noir, Memento (USA 2000).
Crying at Movies: A Memoir by John Manderino