Word: cecilia
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...watches the film for the fifth time in the Jewel, Cecilia (Mia Farrow) is well lost in pleasure. A New Jersey hash-house waitress, all thumbs and fanzine fantasies, she can remember whom Lew Ayres used to date but not who just ordered eggs over easy. So she has lost her job. Would that she could lose her husband Monk (Danny Aiello) so easily. He is a bruiser who spends his unemployed days pitching pennies with his pals, his nights alternately neglecting or abusing Cecilia. Her life is like a movie, all right, but the wrong kind, the first reel...
...were the most natural thing in the world. And, indeed, the easy manner of the movie throughout its brief, densely packed running time of 82 minutes is what makes its impossibilities seem credible. Gordon Willis' masterly cinematography is in the same key. He lights the world that Cecilia helps Tom to explore just a little more warmly than it would naturally be, reminding us that the subject of this movie is, and the hidden subject of most old movies was, transfiguration...
...turns out to be a great subject for comedy too. See Tom try to pay for a + restaurant meal with stage money. See his puzzlement when he leaps behind the wheel of a car and it refuses to take off. ("This is real life," practical Cecilia murmurs. "They don't start without a key.") See him plant a perfect movie kiss on her lips and then frown suddenly: "Where's the fade-out? . . . You make love without fade-outs?" But if transfiguration delights those blessed by it, it confounds those it fails to touch. One of the reasons Cecilia loves...
...playgrounds of Hilton Head, where alligators are more likely to appear on shirts than in backyards. The secret of his charm is that he is a precocious anomaly looking back on a raffish puberty: "A good gentry tyke in Cooper Boyd [a private school], headed shortly for St. Cecilia Society balls with a million Altalondine Jenkinses instead of talking trash with true Diane Parkers in roadhouses...
...Mathi as Grünewald. It seems to range backward and forward in time, a web of discreet allusions that seldom rise to open quotation. Thus in drawing Cecily Heron, the youngest daughter of Sir Thomas More, Holbein selected the pose of another woman with the same first name, Cecilia Gallerani, the model for Leonardo's Lady with an Ermine. If one could not deduce from his work that Holbein's was one of the best minds of the northern Renaissance, the names of his friends would suggest it: he was on terms of familiar equality with such...