Lucian Freud, “Man’s Head, Self Portrait III” (1963)

Look what I found, another dope site.

Hmmm, toaster bacon.

Bacon’s a fruit.

Picture by Patrick Joust.

Lunch!

Guest Post By William D. Jackson

Last Friday, I checked into my Facebook account and saw a post from a friend referring to Sidney Lumet, the renowned director of such movies as “12 Angry Men,” “Serpico,” and “Dog Day Afternoon.” I instantly knew he was being memorialized.

I was caught by surprise, actually; the same way I was surprised when Sidney Pollack died. They were both full of energy, even if they appeared worn around the edges. Mr. Lumet certainly appeared to have walked a long way to the stage he was currently sitting on when I attended the TriBeCa Film Fest preview of “Before The Devil Knows You’re Dead” in 2007. I was with a friend who’s a big Phillip Seymour Hoffman fan; he was there with Lumet and Ethan Hawke. My friend begged me to stand up and ask a question during the Q&A afterward, so I stood up and got noticed.

“I just wanted to say two things,” I said. “Mr. Hoffman, my friend here is a big fan of yours and wants to say hi” to which he and the audience laughed as she squirmed in her seat. “The other thing is, being that you shot most of this on location around the city, I wonder if you have any war stories to share concerning that experience.”

Hoffman talked about how while they were filming one scene inside a car with Marisa Tomei, they had to pipe in air because it was so hot inside, that after literally having a fan or an ac in the back seat out of frame that had broken down early on. Sidney spoke about how much give and take there is when you’re on location, but for the most part he loved it. His favorite shooting days were in Astoria, Queens. I sensed a reflective look from both of them, and Hoffman looked at me the whole time as if to say, “Ahh, I know you’re in the biz!”

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Pysch!

And suddenly it is warm in New York, at least for a minute.

Skirts, skirts, where are all the ice cream skirts?

Pauline Kael on “Dog Day Afternoon” (from “When The Lights Go Down”):

In “Dog Day Afternoon,” we don’t want any explanation of how it is that Sonny (Al Pacino) lives in both heterosexual and homosexual marriages. We accept the idea because we dont really believe in patterns of behavior anymore–only in behavior. Sonny, who is trapped in the middle of robbing a bank, with a crowd gathering in the street outside, is a working-class man who got into this mess by trying to raise money for Leon (Chris Sarandon) to have a sex-change operation, ye the audience doesn’t laugh. The most touching element in the film is Sonny’s inability to handle all the responsibilities he has assumed. Though he is half-crazed by his situation, he is trying to do the right thing by everybody–his wife and children, the suicidal Leon, the hostages in the bank. In the sequence in which Sonny dictates his will, we can see that inside this ludicrous bungling robber there’s a complicatedly unhappy man, operating out of a sense of noblesse oblige.

The structure of “Dog Day Afternoon” loosens in the last three-quarters of an hour, but that was the part I particularly cared for. This picture is one of the most satisfying of all the movies starring New York City because the director, Sidney Lumet, and the screenwriter, Frank Pierson, having established that Sonny’s grandstanding gets the street crowd on his side against the cops, and that even the tellers are on his side, let us move into the dark, confused areas of Sonny’s frustrations and don’t explain everything to us. They trust us to feel without our being told how to feel. They prepare us for a confrontation scene between Sonny and Leon, and it never comes, but even that is all right, because of the way that Pacino and Sarandon handle their contact by telephone; Sonny’s anxiety and Leon’s distress are so pure that there’s no appeal for sympathy–no star kitsch to separate us from the nakedness of the feelings on the screen.

How about a little Talking Heads to get us going today?

Sidney Lumet made some great movies and some decent ones and a bunch of clunkers. But he almost always got good performances from his actors. “Q&A” was a New York corrupt cop story, a Lumet specialty. It wasn’t a great movie but it featured a lot of solid performances–Armand Assante was never better–especially from the supporting cast, another Lumet trademark.

But it was Nick Nolte’s movie.

Man, when he’s on, Nolte is great.

Sidney Lumet, one of the great directors to come out of television in the 1950s, has died. He was 86. A New York legend, he was the man behind the camera for classics like “12 Angry Men,” “Long Day’s Journey Into Night,” “Serpico,” “Dog Day Afternoon,” “Network” and “The Verdict.”

Bow down.

Gene Kelly and Sugar Ray Robinson tap it out:

Dem Bones…

The New York Times on oven braised pork ribs.

Yes, please.

[Photo Credit: Michael McElroy]

Blam.

Dig this…

most cool

site

If This Isn’t Happiness…

I don’t know what is.

Dig what I came across in Midtown yesterday…

Although this is a 2009 vintage I officially nominate this vehicle as the 2011 Bronx Banter Scoretruck. Can I get a witness?

Fresh direct from the Lo Hud Yankees oven comes news that Rafael Soriano is sorry that he split without talking to reporters last night.

Here’s tonight’s line-up:

1. Gardner LF
2. Granderson CF
3. Teixeira 1B
4. Rodriguez DH
5. Cano 2B
6. Swisher RF
7. Chavez 3B
8. Nunez SS
9. Molina C
Garcia P

Forget the chumps–or that Chump, in particular–here comes Fab Five Freddy and

Let’s go Yan-Kees!