Six Degrees Of Separation Page #4

Synopsis: New Yorkers Ouisa and Flan Kittredge are upper class private art dealers, pretentious but compassionate. Their prized possession is a double sided Kandinsky, one side that represents control, the other side chaos. They relay a story to their friends and acquaintances that over time becomes legendary. It is their encounter with a young black man who they had never met or heard of but who comes stumbling upon their front door one evening as they are courting an important investor, Geoffrey Miller, who could make them wealthy beyond what they could have dreamed. That black man is Paul Poitier, who has just arrived in the city, was just mugged outside their building and is sporting a minor knife wound to the abdomen. He is a friend of the Kittredge's children, who are attending Harvard, but more importantly is the son of actor/director Sidney Poitier. Tomorrow, Paul is meeting up with his father who is in town directing a movie of "Cats". Beyond the attraction of talking Paul into getting
Genre: Comedy, Drama, Mystery
Director(s): Fred Schepisi
Production: MGM Home Entertainment
  Nominated for 1 Oscar. Another 5 nominations.
 
IMDB:
6.9
Metacritic:
72
Rotten Tomatoes:
88%
R
Year:
1993
112 min
571 Views


Dad's not in till tomorrow at the Sherry.

250

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I came down from Cambridge. I thought

I'd stay at some fleabag for adventure.

251

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Orwell, iDown and Out.../i

252

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I don't really know New York. I know

Rome, Paris and Los Angeles a lot better.

253

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Well, we're going out to dinner.

You'll come.

254

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- Out to dinner?

- Out to dinner.

255

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- The new Italian looked cheery.

- Good. We've made reservations.

256

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- They wrap up ravioli like saltwater taffy.

- Six on a plate for a few hundred dollars.

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But why go out to dinner?

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Because we have reservations. What time

is it? Have we lost the reservations?

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There's nothing in the house. And it's 16th

century Florence, genius on every block.

260

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- Don't mock.

- You must have something in the fridge.

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A frozen steak from the Ice Age.

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But why spend $100 on a bowl of rice?

Let me into the kitchen.

263

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Cooking calms me. And what I'd like to do

is calm down. Pay back your kids.

264

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- Two at Harvard. A daughter at Groton.

- Who've been wonderful.

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- They never mentioned you.

- What'd they say?

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"We know the son of Sidney Poitier,

barrier-breaker of the '50s and '60s"?

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Your father means

a great deal in South Africa.

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I'm glad of that. Dad and I went

to Russia once, to a film festival.

269

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He was amazed how much

his presence meant.

270

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No, no. Tell us stories of movie stars

tying up their children, being cruel.

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- I wish.

- You wish?

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If I wanted to write a book about him, I

really can't. No one would want to read it.

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He's decent, and I admire him.

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Oh, he's married to an actress. She was

in... um... um... She's white. Am I right?

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That's not my mother. It's his second wife.

He met Joanna making iThe Lost Man,/i

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and left my mother, who'd stuck by him

in the lean years. I had just been born.

277

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iThe Lost Man/i is the only film of my

father's I can't bring myself to see.

278

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- I'm so sorry. We didn't mean...

- No, no, no.

279

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We're all good friends now, his kids

from that marriage and us - the old kids.

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I'd love to get into that kitchen.

281

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- What should we do?

- It's Geoffrey's only night in New York.

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- I vote to stay in.

- Good!

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We moved into the kitchen.

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- We watched him cook.

- We watched him chop.

285

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He did a sort of wizardry.

Leftovers. Onions.

286

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- i(Ouisa)/i Peppers.

- Tuna. Olives.

287

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- i(Ouisa) Ajar of sun-dried tomatoes./i

- iIt was wonderful./i

288

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- So, you're from...?

- Johannesburg.

289

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My dad took me to a movie

shot in South Africa.

290

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The camera moves from

this vile rioting in the streets

291

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to a villa where people picked

at lunch on a terrace.

292

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The only riot, the flowers and the birds.

Gorgeous plumage and petals.

293

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I didn't understand.

294

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Dad said to me "You meet these young

blacks who are having a terrible time."

295

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"They've had an inadequate education,

yet, in '76, the year of the Soweto riots,

296

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they took on great political responsibility.

Just makes you wonder at their maturity."

297

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It makes you realise that

the "crummy-childhood" theory,

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that everything can be blamed in

a Freudian fashion on a bad upbringing,

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just doesn't hold water.

300

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May I?

301

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What about being black in America?

302

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Well, my problem is I've never felt

American. I grew up in Switzerland.

303

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Boarding school. Villa Rosey.

304

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There's a boarding school in Switzerland

that will take you at age 18 months.

305

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No, no, no, no. That's not me. I've never

felt people liked me for my connections.

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And movie-star-kid problems?

None of those.

307

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I never knew I was black in that racist way

till I was 16 and came back here.

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Very, very protected.

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White servants.

310

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After the divorce, we moved to

Switzerland - my mother, brother and I.

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I don't feel American. I don't even feel

black. I suppose that's very lucky for me.

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Even though Freud says

there's no such thing as luck.

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Does Freud say that?

I think we're lucky having this dinner.

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- Flan, can we eat in the dining room?

- Dining room.

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Now, now, don't look at

the sewing machine.

316

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So, is everything OK?

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- This is the best pasta I've ever tasted.

- The best!

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- My father insisted we learn to cook.

- He's from Jamaica, isn't he?

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There's a taste of, um...

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- The islands.

- Yes. Yeah.

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Yes, before he made it,

he ran four restaurants in Harlem.

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- You, sir, have good buds.

- "Good buds?"

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I've never been

complimented on my buds.

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- This is delicious.

- What about you?

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Oh, no, no, no. The cook never eats.

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John Guare

John Guare (rhymes with "air"; born February 5, 1938) is an Irish American playwright. He is best known as the author of The House of Blue Leaves, Six Degrees of Separation, and Landscape of the Body. His style, which mixes comic invention with an acute sense of the failure of human relations and aspirations, is at once cruel and deeply compassionate. In his foreword to a collection of Guare's plays, film director Louis Malle writes: Guare practices a humor that is synonymous with lucidity, exploding genre and clichés, taking us to the core of human suffering: the awareness of corruption in our own bodies, death circling in. We try to fight it all by creating various mythologies, and it is Guare's peculiar aptitude for exposing these grandiose lies of ours that makes his work so magical. more…

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Submitted on August 05, 2018

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