Six Degrees Of Separation Page #5

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


What a good idea.

That means there's more for us.

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- It's a treat to eat at home.

- We go out every night.

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I have to. Business.

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Have you declared your major yet?

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You are like all parents -

"What's your major?"

331

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Geoffrey, Harvard has all those great titles

the students give the courses.

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"The holocaust and ethics"?

333

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"Krauts and doubts."

334

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A toast. To you.

335

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Oh. No, no, no.

336

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- To iCats./i

- OK. Yes. To iCats./i

337

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Isn't this the finest time?

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Hello?

339

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Hello?

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Hello?

341

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- Seconds?

- Ah!

342

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Blunt question. What's he like?

343

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- Oh, let's not be star-f***ers.

- I'm not a star-f***er.

344

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Well... you know my father. He's... perfect.

345

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So confident and in control.

346

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And I used to wonder how could

I ever possibly live up to him.

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And then one night, when I was 16 -

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we were at the Cannes Film Festival,

of all places -

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I looked up and said to him:

350

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"Wow, Dad, this is all so easy for you."

351

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Why did I say that?

352

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He sat me down and set me straight.

353

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Actually, it was a relief for me

to know my father was no superman.

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That he has problems. And there are

moments in his life when he's scared.

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And, yes, sometimes

life is whipping his tail.

356

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And he doesn't feel like he can get

through the day. That's refreshing for me.

357

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Because I have times like that myself.

358

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I just loved the kid so much.

I wanted to reach out to him.

359

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Then we asked him

what his thesis was on.

360

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- The one that was stolen.

- Well...

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A teacher out on Long Island was dropped

from his job for fighting with a student.

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Weeks later, he returned to the classroom,

shot the student - unsuccessfully,

363

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held the class hostage,

and then shot himself - successfully.

364

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This fact caught my eye.

Last sentence, iTimes/i -

365

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"A neighbour described

the teacher as a nice boy,

366

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always reading iCatcher in the Rye. "/i

367

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This nitwit Chapman,

who shot John Lennon,

368

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said he did it to draw the attention

of the world to iCatcher in the Rye,/i

369

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and the reading of this book

would be his defence.

370

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24:57,600 -- 00:25:01,593

Young Hinckley, the whiz kid who shot

Reagan and his press secretary, said:

371

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"If you want my defence, all you

have to do is read... iCatcher in the Rye. "/i

372

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- I haven't read it in years.

- Shh.

373

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I borrowed a copy from a young friend.

I wanted to see what she had underlined.

374

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And I read this book to find out why

this touching, beautiful, sensitive story,

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published in July 1951,

had turned into this manifesto of hate.

376

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I started reading. It's exactly as I had

remembered. Everybody's a phoney.

377

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Page two - "My brother's

in Hollywood being a prostitute."

378

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Page three -

"What a phoney slob his father was."

379

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Page nine -

"People never notice anything."

380

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Then, on page 22, my hair stood up.

381

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Well...

382

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Remember Holden Caulfield, the definitive

sensitive youth wearing his hunter's cap?

383

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A deer hunter's cap?

384

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"Like hell it is. I sort of closed one eye

like I was taking aim at it."

385

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"This is a people shooting hat."

386

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"I shoot people in this hat."

387

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This book is preparing people for bigger

moments than I had ever dreamed of.

388

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Then, on page 89,

"I'd rather push a guy out the window

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or chop his head off with an axe

than sock him in the jaw."

390

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"I hate fistfights. What scares

me most is the other guy's face."

391

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I finished the book.

It's touching and comic.

392

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The boy wants to do so much

and can't do anything.

393

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Hates all phoniness

and only lies to others.

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Wants everyone to like him but is only

hateful and is completely self involved.

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In other words, a pretty accurate

picture of a male adolescent.

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What alarms me about the book - not the

book so much as the aura about it - is this.

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The book is primarily about paralysis.

The boy can't function.

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At the end, before he can run away and

start a new life, it starts to rain. He folds.

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There's nothing wrong in writing about

emotional and intellectual paralysis.

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It may, thanks to Chekhov and Samuel

Beckett, be the great modern theme.

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The extraordinary last lines

of iWaiting for Godot.:/i

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"Let's go."

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"Yes."

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"Let's go."

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Stage directions:

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"They do not move."

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The aura around Salinger's book -

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which, perhaps, should be

read by everyone but young men - is this.

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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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