#philip h. lathrop

[sesiondemadrugada]

The Driver (Walter Hill, 1978).

[wetgeliscasualinterval]

The Driver (1978) dir. Walter Hill

[tedhead]

Burt Lancaster and Deborah Kerr in THE GYPSY MOTHS (1969) — dir. john frankenheimer, cin. philip h. lathrop

[cinearche]

THE DRIVER, Dir Walter Will. 1978.

Cinematography: Philip H. Lathrop.

[esqueletosgays]

DEADLY FRIEND (1986)

Director: Wes Craven Cinematography: Philip H. Lathrop

[byneddiedingo]

Lee Remick and Jack Lemmon in Days of Wine and Roses (Blake Edwards, 1962)

Cast: Jack Lemmon, Lee Remick, Charles Bickford, Jack Klugman, Alan Hewitt, Tom Palmer, Debbie Megowan, Maxine Stewart, Jack Albertson. Screenplay: J.P. Miller. Cinematography: Philip H. Lathrop. Art direction: Joseph C. Wright. Film editing: Patrick McCormack. Music: Henry Mancini.

This melodrama about alcoholic codependency threatens to fall into didacticism, becoming a latter-day temperance lecture, but is rescued by the fine performances of Jack Lemmon and Lee Remick as Joe and Kirsten Clay. He's a ladder-climbing public relations man and she's the secretary to one of his clients; they fall in love, get married, have a child, and turn into self-destructive lushes. Eventually, with the help of Alcoholics Anonymous, and after a couple of harrowing relapses, he climbs out of it, but she refuses to admit that she has a problem that can't be solved with "will power." The film is unexpectedly bleak for one made with a solid Hollywood budget and two big stars -- both of whom received Oscar nominations -- directed by a man more famous for the Pink Panther movies and for his marriage to (and films with) Julie Andrews than for a serious problem drama. Fortunately, the film has a point to make: that alcoholism is a disease that manifests itself differently in each person who suffers from it. Joe, being a sociable type whose job has always involved drinking with clients, is the kind of person who benefits from the sense of community that AA provides. Kirsten, on the other hand, is a loner: an only child with a doting father (Charles Bickford); when we first see her she doesn't drink at all and is given to taking long walks alone on San Francisco's Fisherman's Wharf. It's Joe who introduces her to alcohol, which softens the rough edges of life -- without it, she says, everything looks "dirty." She feels comfortable denying her problem, even when it affects her marriage and her child so severely: At one point, in an alcoholic haze, she sets fire to their apartment. They love each other, but she's unable to express her love for Joe unless he drinks with her. The screenplay by J.P. Miller is a reworking of his TV drama that appeared on Playhouse 90 in 1958, starring Cliff Robertson and Piper Laurie. There is a bit too much Hollywood gloss on the film, including an Oscar-winning title song by Henry Mancini and Johnny Mercer, but the thoughtful core of the narrative manages to surface because everyone resisted the tendency to paste an easy resolution of the Clays' problems on the end of the film.

[agvstin]

The Driver (1978), dir. Walter Hill / d. fot. Philip H. Lathrop

[365filmsbyauroranocte]

Films watched in 2021.

133: Lonely are the Brave (David Miller, 1962)

★★★★★★☆☆☆☆

“The only person he can live with is himself.”

[absencesrepetees]

experiment in terror (blake edwards, 1962)

[romdocitizen]

Point Blank (1967) dir. John Boorman, cinematography by Philip H. Lathrop

[tvln]

all night long (us, tramont 81)

[sesiondemadrugada]

Days of Wine and Rose (Blake Edwards, 1962).

[stillsmybeatingheart]

[imagenestopia]

They Shoot Horses, Don't They?, 1969, Sidney Pollack

[kiurit]

the americanization of emily (1964) dir. arthur hiller

[filmy420]