Recently I was talking to someone about the Japanese concept of aimai, or ambiguity. In art there is room to be deliberately mysterious sometimes: to leave people wondering. Holly seems to be that kind of character, which is becoming more rare in American cinema.
I haven't read/watched the book/film, but I enjoyed this look at how the film chose to adapt certain things - like giving the nameless narrator more character (pun intended 😆) in the movie!
George Pappard was a once in a lifetime actor and new it too. He was a man's man . I love the fact that he never apologize for being who he was. So sad that his drinking did him in. He was great in the "Blue Max" film.
Recently I was talking to someone about the Japanese concept of aimai, or ambiguity. In art there is room to be deliberately mysterious sometimes: to leave people wondering. Holly seems to be that kind of character, which is becoming more rare in American cinema.
A nice benefit of ambiguity is how it encourages rewatching or rereading, ensuring that it's not disposable.
I haven't read/watched the book/film, but I enjoyed this look at how the film chose to adapt certain things - like giving the nameless narrator more character (pun intended 😆) in the movie!
George Pappard was a once in a lifetime actor and new it too. He was a man's man . I love the fact that he never apologize for being who he was. So sad that his drinking did him in. He was great in the "Blue Max" film.
The biggest flaw the movie has is the absurd miscasting of Mickey Rooney as a Japanese man. 21st century Hollywood would not let that slide....
Agreed. You've got this nice little movie, and then there's this racist cartoon character running around and embarrassing the whole thing.