Selector: Wiener../../../../Member_Profiles/Entries/2006/3/9_Wiener.htmlshapeimage_4_link_0

Written by: Robert Towne

Directed by: Hal Ashby

BBD Comments: 
I can still hardly believe this was Coolbaugh’s last night as a local with the Crew. An era has ended and what lies ahead remains uncertain, but hopeful.

How ironic then that the fiercely unsentimental Mr. Wiener would do the honors of picking Coolbaugh’s final film. In the end, Ben did a wonderful job with this pick, and the film’s title alone made it apropos.

Like ‘Cabaret,’ ‘The Last Detail’ concerns itself with trapped characters torn between escaping to an unknown future or making peace with the comfort of their respective prisons. While Bad Ass, Mule and Larry are surrounded by opportunities to slip away from their sentences, they choose to “bear the ills they have rather than fly of to others that they know not of.” This push and pull imbues the film with a great sense of hope. It is precisely this hope that makes Larry’s imprisonment all the more gut wrenching. His fate is effectively the fate which faces Buddusky and Mulhall, as we know them well enough by the end of the film to know they will be tortured for years by the choice they made. In the end, the three are united by debaucherous abandon in the face of life’s hard reality. This unity is familiar to any who have joined us in the Back Yard over the years.

Hal Ashby does an incredible job on this film. He may well be the best director of Seventies cinema, and given the incredible work to come from the era, that is very high praise indeed. What I find so impressive about his work here is how close he ties the audience to the journey of these three men. When they are traveling, we are with them on the journey. The camera feels cramped in the train, it feels cold as we drink Schlitz outside (for the record, the absence of Schlitz for this screening is as regrettable an oversight as my failure to supply orange soda for ‘Joe Vs. The Volcano.’). Once our characters land somewhere, the whole feel of the film changes. We are off the road, and in from the cold, and Ashby manages to really place us alongside these remarkable characters. The first party in their hotel room is magnificent. It was as though we were all drinking with these men. The camera darts around the room, finding details we might notice were we there. Time is compressed and then extended. Thoughts ramble and meander, and moments of great significance emerge from very humble utterances. This technique is employed again at the brothel, and yet again with the Nichiren Shoshu. Ashby lets us forget the future with our protagonists, we escape with them into simple pleasures, and share their shock and pain when the demands of the real world force all of their hands.

In addition to Ashby, Nicholson delivers a remarkable performance. He is nuanced and subtle and I can think of nowhere he has been better. Randy Quaid does a fine job, but the few moments he forced prevent me from admiring the whole of his work here. Otis Young on the other hand is pitch perfect, and he does a great deal to ground this film.

‘The Last Detail’ ended up being just the right pick. I wish so much our endless summer could continue, and that the Back Yard wasn’t being taken away from all of us - but that’s life. Wiener brought a film that understood many of the stories in our lives don’t have happy endings. 

All the more reason to take a moment and cherish the wonderful moments spent drinking good beer amongst the very best of friends. 

Onwards.

Brandon Comments:
As I sit here listening to the soundtrack for ‘Cabaret’ (which I purchased after Tooda’s pick last week) and trying to write my review for ‘The Last Detail,’ I am immediately struck by how much ‘Cabaret’ affected me, yet how little ‘The Last Detail’ did. Don’t get me wrong, I enjoyed ‘The Last Detail,’ and I enjoyed Jack Nicholson, but the film overall had little impact on me. There were some scenes that I really liked, some characters that I thought were terrific, and an ending that I wasn’t expecting--but overall, my criteria for judging a movie either good or bad is if I would watch it again within a week. ‘Cabaret’ – yes, I would watch it again...and buy the soundtrack. ‘The Last Detail’ – no, I don’t think I would watch it again...especially not the entire film.

The most significant scene from the entire film, for me, was watching Nicholson skillfully combing his thinning hair in the mirror, paying careful attention to camouflage the front, sides, and back with hair from the center. He showed the camera and the viewer his weaknesses, his human side, his flaws...and this I thought was beautiful, raw, and sincere. Nicholson is amazing in this film, and you know by watching it that he had a great time making it. But all in all, I felt it a mediocre film that didn’t do much more than put flesh and bone on a mediocre story.

There was some great dialogue throughout the film, especially the line, “I wouldn’t shit you...you’re my favorite turd!” But I’m afraid that’s not enough for me to consider this a classic film...just a lost gem from Nicholson’s past. 

Buffy Comments:
Wednesday was marked by a haunting grey—in the air, in the film, and in the mood of the group. Saying goodbye to friends is never easy, especially for friends with such strong bonds as you fellows have. There was something to the rhythm of this pick that taught me something new about Movienight generally, something I hadn’t quite grasped before and which I’m not sure I can put into words. Oh, and as usual I enjoyed seeing men with their shirts off, in tight-panted uniforms, though I am guessing that wasn’t on the list of Weiner’s reasons for picking this one. What more can you ask from a pick?

The task at hand here in ‘The Last Detail’ really was a particularly chicken shit mission. What guy wants to take a fellow sailor, and an all-right guy besides, to the slaughter? Guys generally like to be the hero, especially guys in uniform; participating in such a cowardly and pointlessly cruel act which, further, is disguised as justice…well, I hear it’s a deeply conflicted place to be. Men with a sense of honor and commitment to duty, faced with this kind of dilemma, and with an aversion to dealing with emotional or moral conflict at all…it’s a very interesting inner struggle to witness on-Stucco. Especially when so excellently played out by all the fine actors in this well-written, beautifully shot, and expertly conceived film. 

Regarding the “gay” stuff, I want to be clear on my thoughts. Many men appear to be uncomfortable with any interaction which might be considered “gay.” And yet, people are part of endless “gay” interactions on a daily basis, as sexuality underlies all our socializing as part of nature’s design. Just because it seems “gay” to teach some young sailor signaling with your shirt off, and “gay” to bond over having the same taste in whores, doesn’t mean anyone needs to make out. And even if they do want to make out or do actually make out, big whoop—don’t men by nature kind of want to fuck pretty much anything, a little bit? It’s just no big deal. In my opinion, straight culture’s fear of gay behavior creates truly ridiculous side effects, some of which can be horribly violent. I don’t think all guys are secretly gay, I think many guys secretly fear they might have even the slightest gay tendency. The world would be a better place if guys, girls, and everyone would relax about the whole non-issue. In my opinion. 

Now, if I may address the membership: thank you for your concern, as expressed on several occasions, that Selections such as ‘The Last Detail’ may be offensive or harmful to my feminine nature. While indeed I am a delicate flower, do not the flowers in Coolbaugh’s garden watch the films among the company of such lovely gentlemen without damage to their beauty or their souls? To the pure all things are pure, my father says. Also, if you’ll forgive my directness, just because I don’t have a dick and balls does not mean that I am in any way incapable or afraid of enjoying, understanding, or appreciating men’s stories as told by men. The experience holds value for me. I may have a different perspective, but don’t each of you (despite your anatomic commonalities)? As I once said to Pat Towne, you’re beautiful, don’t ever change. And I mean it. 

Thanks for a great pick, Weiner. 

MONA Comments:
Wiener's well-spoken and considered preamble seems like false modesty in the light of such a pitch-perfect pick.  With this a slight character study road/buddy film, with little happening narratively, the film offers up little more than mournful twilight hedonism and a middle finger raised to authority.  And yet it was spot on.  Wiener didn't swing for the fences here.  He drove a solid ball deep to left center, the play off the wall on the warning track was muffed, and the Stucco experienced one of its only in-the-park-home runs.

Hal Ashby is not, as some would have you believe, an underappreciated secret 70's auteur who gets no respect.  He's usually on 70's tops and pops short lists for good reason- ‘Harold and Maude’ and ‘Being There’ alone guarantee instant posterity.  The film has all of those imported transposed French New Wave sensibilities in its cinematography, but also a road movie structure that leaves no doubt this is made in America (if you had any question, the blaring Souza marches on the soundtrack dispel them with martial insistence).

The performances are all excellent.  I'm not sure where Tooda finds faults in Randy Quaid's Meadows...he suffuses the role with a winsome and guileless naivete that slowly enlists both Buddusky and Mules' sympathies as surely as it does the audience's.  Nicholson is great in a role that, were he to play it today, would be pure camp and caricature.  Here it's still anchored in a deep empathy for his character's motivations, suffocating under bureaucratic military protocols.  Bad Ass knows there's not much difference between his station and Meadows' lot, and the awareness of that fact suffuses their relationship.  The park bench scene is a lovely bit of filmmaking.  I don't like the decision to resolve the scene so violently, but I think it serves as a reminder of the prison the two sweepers already are confined to.

One thing I noticed throughout the film was its careful attention, both topically and compositionally, to American race relations.  It's a portrait that is both nuanced, realistic, hopeful and critical.  The DC and Baltimore scenes, which present a very real and credible "Chocolate City," present black people not as extras, but as integrated members of the American streetscape and social landscape.  At the same time, Ashby's careful to juxtapose, on the one hand, a small group of apparently middle class, urbane black intellectuals having an engaged discussion at the train station, with the redneck Naval officer proclaiming that Mule is "his favorite turd." 

All in all, a very fitting tribute to the Coolbaugh era, and a highly enjoyable pick of a film I'd heard of but never seen.

Onward.

Nubs Comments:
I’m not sure if Wiener was just being his usually modest self, or his usually hard on himself self, but I do think ‘The Last Detail’ was the perfect pick for last night. Earlier in the week I stated that I thought Wiener could pull out something as apropos to the group as his glory days of ‘Rear Window’ or ‘Yojimbo.’ Give kudos to me for calling it, and kudos to Wiener for proving me right… but mostly, me. With the pressure on to bring the Last pick for Coolbaugh (though its probably not), ‘The Last Detail’ says it all. As is usual for me, I will now explain why though it’s not a great movie, it is a great pick. 

Had I been watching this movie in any other venue, I might have given up on it once I realized not very much was going to happen, which was pretty early. That said I am so happy for our venue that forces me to stay the course like the duty of our anti-heroes in the film. Having missed ‘Harold and Maude,’ ‘Being There’ is the only Hal Ashby movie I had previously ever seen. After a rousing and eloquent preamble from our SELECTOR on this warm, early spring night, it took me a while to settle in to the cold and languid pace of this film. To our audience who had all never seen it before, Wiener hyped up “drinking and fucking,” good times. Then we spend a majority of the first half traveling. On bus, then train, then walking in the freezing cold, then waiting around in the cold, not much happens other then elegant character introductions. Hell, you could make the case this movie has about as much drive and focus as ‘Wings of Desire.’ The director and characters linger and drift in their own manly bullshit for as long as, well, as long as we do after the movie ends and into an inevitably disappointing Headsets. 

Yes, yes, and there it is. As they finally relax, get drunk and proclaim their praise for beer, it becomes clear how deliciously apt this gem is. Again, Wiener’s preamble told us exactly what we, and this film are all about; the pursuit of fun in the cold world of obligation. Some fuckin R and R, god damnit! As Coolbaugh sets to uproot his family for greener pastures, as I embark on the hell that is three kids (yes, really, that’s why I’m smoking), and the rest of you do whatever, Wiener spoke to us loudly that we have to act according to our duty and obligation. We don’t have to be in the service to have to serve. Like Bob Dylan said, “you’re gonna have to serve somebody”. Yet, just as we do at the never-ending post-Movienight discussion, there’s always room to linger, stall, have another beer, one more cigarette or combustible enhancement of your choice before returning home to duty.

I agree with Wiener that the theme is depressing as our heroes all head, though indirectly, for the prison that is their future but what else would you expect from Wiener, king of the downer endings. However, like a good prison movie there is hope and freedom in the camaraderie and pleasure we create. Its true, in the end of this one hope is lost when they run down their friend and beat him into submission, but at least they got him drunk and laid. We should all be blessed with friends like that. Oh, we are.
	
Speaking of friends, thanks Coolbaugh for your Back Yard. Thanks also to Wiener for bringing this never-before-seen gem, and huge thanks for providing Movienight’s new home. Just as Coolbaugh shared the same nickname as his daughter, MOMO, I think Wiener should share the same nickname as his wife, MONIE, or Movienight’s Official Newly Initiated Enabler. We could also make the “I” stand for Ingenius if he prefers.

-

Now as it is totally inappropriate, crass, and alienating to our female members, but totally in the vein of ‘The Last Detail,’ I will now rate the tits we have enjoyed on the Stucco from worst to best. This may be more suited as a Blog but we all know no one reads that and come on, Davis, what’s better to get people reading again?

Nubby’s Movienight Tits List:

10. Carole Kane ‘The Last Detail’ – cute, great actress, but do I really need to see the chest of a ten year-old boy?

9. Faye Dunaway ‘Network,’ ‘Chinatown,’ and ‘Bonnie and Clyde’ – great actress, beautiful face, but we’re rating tits. Not impressive.

8. Jennifer Jason Leigh ‘Fast Times’ – again, if you like em young and prepubescent more power to your threesome with Carol Kane

7. Helena Bonham-Carter ‘Fight Club’ - blurred by some trippy cinematography but nice if they’re actually hers.

6.(tie) African Dancer/Flasher ‘When We Were Kings’ - too National Geographic to be sexy.

6.(tie) Deborah Harry ‘Videodrome’ – Really nice even with the cigarette burn but I’ve heard rumors of body double.

5. Susan Sarandon ‘Bull Durham’ - Our only sizable entry. Full and perfect enough to almost drive you to see ‘Rocky Horror’ - but only glimpses of em in this chick flick or she’d be higher.

4. Susan George ‘Straw Dogs’ - perfect but will forever be attached to image of her getting raped and you know my opinion on that.

3. Robin Wright (Penn after this) ‘State of Grace’ – after doing love scenes with her on this I’d probably marry her like Sean. 

2. Irene Miracle ‘Midnight Express’ – put em on the glass! Hallelujah, make a man want to drop to his knees, put his hand in his pants and liberate himself, literally.

1. Pheope Cates ‘Fast Times’ – once again if she’s good enough for the lead to spank to she probably got em. Glistening wet body and disrobing in slow motion also help.

There may have been some I left out, but if I forgot them its cause they’re forgettable.

This is also just my lewd opinion and does not express the views of Movienight. As a matter of fact some members like the smaller sizes but I’m from Texas where everything has to be bigger. Seriously, what’s a guy gotta do to get a c-cup or more on Wednesdays, knock up his wife again? Oh.

SELECTOR Comments:
I haven't read the reviews, but I've been led to believe that they're less than glowing.  Honestly, I could have picked a more sentimental and more fitting tribute to Mr. Coolbaugh.  However, can anyone think of another, better film that features all these things that are close to Coolbaugh's heart: a cameo by a Round Table Pizza, a critical dart game, beer, bob, boobs, Jack Nicholson, Robert Towne and Hal Ashby?

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