Word: braughtigan
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Dates: during 2000-2009
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...know,” says Braughtigan, “When you’re young, you have such moments of happiness that you think you’re living in some place magical, like Atlantis must have been. Then we grow old, and our hearts break in two.” What happens to that mystique of youth? Is it ever really lost...
...disappointed. He knows his mother (Hope Davis) complains about money (his gambling addicted father died leaving nothing but bills), but he had hoped that perhaps she’d find a way to give him his present anyway. But soon, a mysterious stranger (Hopkins), who introduces himself as Ted Braughtigan, moves in upstairs and offers to pay Bobby a dollar a week to read the newspaper aloud to him and to watch for the “lowmen.” With visions of his bike in mind, he agrees, and slowly, Braughtigan begins to change Bobby?...
Immediately, it is obvious that there is something different about Braughtigan. He knows things intuitively—that Bobby wants a bike, for example. His fear of the mysterious “lowmen,” whom he claims are hunting him, puzzles Bobby. He also descends into strange dazes during which he becomes oblivious to the outside world, occurrences that scare Bobby more and more the closer he becomes to his new friend. And so, for Bobby, the summer, his magical Atlantis, passes with a series of startling revelations and changes in perception. In this period of growth...
Anyone familiar with Stephen King’s work can attest to his moments of brilliance. In King’s best work, he probes into morality and the complexities of human nature with astonishing depth. We grow to know an outsider (Andy Dufresne, John Coffey and now Ted Braughtigan) from the point of view of a person from the inside. The most disappointing thing about King’s career, though, is that very rarely is King’s work brought to the big screen with great success. For every truly exceptional King adaptation—The Shawshank...
...Hopkins. The direction and script, joined with the late Piotr Sobocinski’s cinematography, reaches its height in climactic scenes that have an almost Technicolor glory to them, quite appropriate for the film’s 1950s spy drama atmosphere. Hopkins seems built for the part of Braughtigan, the enigmatic but elegant friend to Bobby. The unquenchable curiosity of Anton Yelchin’s Bobby plays perfectly against Hopkins’ mystique. It is this mystique that makes the film so magnetic and engrossing—the mystique of youth against the mystique...
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