A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Tuesday, September 23, 2025

Countdown (Robert Altman, 1967)

James Caan in Countdown

Cast: James Caan, Joanna Moore, Robert Duvall, Barbara Baxley, Charles Aidman, Steven Ihnat, Michael Murphy, Ted Knight, Stephen Coit, John Rayner, Charles Irving, Bobby Riha. Screenplay: Loring Mandel, based on a novel by Hank Searls. Cinematography: William W. Spencer. Art direction: Jack Poplin. Film editing: Gene Milford. Music: Leonard Rosenman. 

Reality intervened to make Countdown obsolete within a few months after it was released, so that the scenes of the astronaut played by James Caan plodding across the lunar surface -- instead of bouncing on it as Neil Armstrong and Buzz Aldrin would soon be seen doing -- look ridiculous. Countdown is watchable today mainly for the people involved with it who went on to better things. Caan and Robert Duvall were just a few years away from stardom thanks to The Godfather (Francis Ford Coppola, 1972), and even Ted Knight, who plays a NASA press relations man, would find a better journalistic role on The Mary Tyler Moore Show in 1970. But it was almost the undoing of its director, Robert Altman, who was fired by Warner Bros. for what became one of his signature techniques: overlapping dialogue. What energy and interest Countdown generates comes from Altman's ability to keep things moving, but he's saddled with a tired story about the space race with the usual cliches, including the astronaut's anxious wife, played woodenly by Joanna Moore. 

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