Word: men
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Dates: during 1970-1979
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...more striking because she has no hair, and a young flight officer stare straight ahead. When the cameras stop rolling, a makeup aide moves in to slap some goo on the woman's head-she shaves twice a day to avoid 5 o'clock shadow-while the men lean over the platform's railing to talk to onlookers below. "Does anyone have a prayer?" quips William Shatner, a.k.a. Captain James T. Kirk of the starship Enterprise. "We certainly have . . . the wing...
...with Laurel and Hardy in the title roles. Imagine Bunuel's Tristana with a new screenplay by Henry Miller. Imagine-well, what's the point? There really isn't any way to anticipate the special charms of Get Out Your Handkerchiefs. This rhapsodic French comedy about men, women and sex is an honest-to-God original with its own challenging brands of humor, style and wisdom. It is the first revolutionary film to come out of France since the decline of the New Wave in the late...
...what he wants. In Handkerchiefs, Blier uses the stereotypes to shock the audience, then lead it to higher ground. This is not a film for those who want the pat, right-minded answers of An Unmarried Woman or Girlfriends: it unfolds in the subconscious, where sentimental bromides about men and women give way to harder truths...
...achieves his subversive vision by pushing his characters' behavior to outrageous extremes. Handkerchiefs is a wet dream gone beautifully berserk. The tone is set by the opening scene, in which Depardieu presents Dewaere, a total stranger, as a "gift" to his wife Solange. She remains indifferent to the men's shenanigans, and the men succumb to complete bafflement. They sit by Solange's bedside, aimlessly but poetically speculating about the mysteries that lie within her heart and mind. Only when the heroine falls for a 13-year-old prodigy (Riton) does she finally arouse from her stupor...
...Method triumphs over madness. In alternating sections, Al reminisces aloud, as much to pass the time as to get through to his apparently oblivious friend, and then Birdy in turn thinks about his past. These two sets of memories are vectors to the present. The personalities of the two men dovetail: Al is profane, athletic, gregarious; Birdy is decorous, wispy and fixated on a world that is real but more acutely visible to him than others. "One hundred billion birds," he muses, "fifty for every man alive and nobody seems to notice. We live in the slime of an immensity...