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"The Maltese Falcon" (1941) (VHS; special edition; not
rated)
starring Humphrey Bogart and Mary Astor; directed by John
Huston
Humphrey Bogart is Dashiell Hammett's definitive private
eye, Sam Spade, struggling to keep his hard-boiled cool as
the double-crosses pile up around his ankles. The plot,
which dances all around the stolen Middle Eastern statuette
of the title, is too baroque to try to follow, and it
doesn't make a bit of difference. The dialogue is delivered
with whip-crack speed and sneering ferocity, as Bogie faces
off against Peter Lorre and Sidney Greenstreet. This is the
role that made Bogart a star and established his
trend-setting (and still influential) antihero persona.
"Harvey" (1950) (VHS; not rated)
starring James Stewart; directed by Henry Koster
It's always a small surprise to revisit this movie and
realize what a subtly dark performance James Stewart gives
as an alcoholic who claims he keeps company with a
six-foot-tall, invisible rabbit. As Elwood P. Dowd, the
actor emits a faint whiff of decay and spirits, yet Stewart
also embraces Dowd's romanticism and grace with splendid
ease. Based on a hit play and directed by Henry Koster, the
film is terribly funny at times, especially whenever Elwood
decides it's only polite to introduce Harvey to complete
strangers. The supporting cast can't be beat.
"The End of the Affair" (1955) (VHS; not rated)
starring Deborah Kerr and Van Johnson; directed by Edward
Dmytryk
Van Johnson plays Maurice Bendrix, an American author in
wartime England who, while attending a cocktail party of
noble civil servant Henry Miles (Peter Cushing),
accidentally catches a glimpse of Henry's wife, Sarah
(Deborah Kerr), kissing another man. Kerr has by far the
most difficult job of the film, playing several layers of
deception as the coolly efficient civil servant's wife with
more than one unexpected passion hiding just below the
surface. Based on the novel by Graham Greene and remade in
1999 with Julianne Moore and Ralph Fiennes.
"The Letter" (1940) (VHS; not rated)
starring Bette Davis and Herbert Marshall; directed by
William Wyler
In this film we learn that guns don't kill people, Bette
Davis kills people--in her role as Leslie Crosbie, a rubber
plantation owner's wife compelled to riddle a family friend
with bullets.
"All About Eve" (1950) (VHS; not rated)
starring Bette Davis and Anne Baxter; directed by Joseph
L. Mankiewicz
"Fasten your seatbelts--it's going to be a bumpy night!" In
this deliciously catty film, Davis stars as an aging actress
who finds herself strapped with a fawning fan determined to
take over her life.
"Whatever Happened to Baby Jane" (1962) (VHS; not rated)
starring Bette Davis and Joan Crawford; directed by Robert
Aldrich
Davis freaks everybody out as an overgrown child star whose
only remaining joy is torturing her wheelchair-bound
sister. Campy to the core, this creepy thriller nonetheless
earned six Academy Award nominations.
"The Third Man" (50th Anniversary Edition) (1949) (VHS; not
rated)
starring Joseph Cotten and Orson Welles; directed by Carol
Reed
Sometimes--but very rarely--every aspect of the process of
moviemaking comes together perfectly. Script, direction,
cinematography, acting, and music work in unison and the
result truly deserves to be called a masterpiece. Carol
Reed's "The Third Man" is such a film. Holly Martins (Joseph
Cotten) is an alcoholic pulp writer who goes to postwar
Vienna to visit his old friend Harry Lime (Orson Welles).
What he finds in the shattered city is not what he expects.
Superb performances and a gripping, intelligent script make
this a cinematic landmark.
"Father Goose" (1964) (VHS; widescreen; not rated)
starring Cary Grant and Leslie Caron; directed by Ralph
Nelson
Cary plays against type in this delightful comedy. He's a
boozy grouch stuck on a Pacific island during World War II
who finds himself the reluctant guardian of a group of
French schoolgirls and their teacher. When the teacher
(Leslie Caron) tries to sober him up by dumping all his
whiskey, you just know that the sparks are going to fly.
It's fun to watch Grant go grunge, and his comic touch is
as deft as ever.
"The Fallen Idol" (1948) (VHS; not rated)
starring Ralph Richardson and Bobby Henrey; directed by
Carol Reed
This little-known gem from director Carol Reed, with a
script by Graham Greene, is a story about the perils of
hero worship told almost exclusively from the perspective of
an 8-year-old boy. Phillipe, an ambassador's son, idolizes
the family butler, Baines (Ralph Richardson), but when
Baines becomes a murder suspect the child learns a
devastating lesson about the moral complexity of the adult
world. The film received two Academy Award nominations, for
Best Director and Best Screenplay.
"Lost Horizon" (1937) (VHS; not rated)
starring Ronald Colman and Jane Wyatt; directed by Frank
Capra
Capra's gorgeous vision of Shangri-la is one of the most
captivating films ever made. When five people find
themselves in a hidden Tibetan valley where peace reigns and
people live for hundreds of years, they must decide whether
to stay, or to try to find their way home. The film was
drastically trimmed after its initial release, but this
edition restores several scenes to get as close as possible
to Capra's original version.
"Dr. Zhivago" (1965) (VHS; rated PG-13)
starring Julie Christie and Omar Sharif; directed by David
Lean
After the heat and sand of "Lawrence of Arabia," director
David Lean headed north to adapt Boris Pasternak's
bestselling novel of love and revolution in Russia. Although
it's less psychologically complex than "Lawrence," "Dr.
Zhivago" is both wonderfully romantic and epic in scope.
Lean conjures up some breathtaking scenes, including an
armored train thundering through a snowy landscape, and a
house encased in ice, but there are also excellent
performances to keep you involved. Tom Courtenay and Alec
Guinness are particularly impressive in small roles.
"White Christmas" (1954) (VHS; not rated)
starring Bing Crosby and Danny Kaye; directed by Michael
Curtiz
Although that other holiday favorite tugs more firmly at
the heartstrings, when it comes to fun "White Christmas"
wins hands down. The plot is lighter than a snowflake, but
the performances from Bing, Danny, Rosemary Clooney, and
Vera Allen are delightful and the music is terrific. Kaye
shines in a couple of great dance numbers, and his
irrepressible energy contrasts nicely with the laid-back
Crosby. Watch for their semidrag version of "Sisters," when
both actors try valiantly to suppress their giggles.
"Winter Light" (1962) (VHS; English subtitles; not rated)
starring Gunnar Bjornstrand; directed by Ingmar Bergman
Bergman's powerful study of a priest's loss of faith is the
second part of a trilogy (with "Through a Glass Darkly" and
"The Silence") that explores the nature of religion. Like
most of Bergman's work, it requires concentration and a
willingness to accept the stately pace at which events
unfold, but the rewards are enormous. "Winter Light" takes
place during a single Sunday, yet within this narrow frame
Bergman creates a work that is both intellectually
challenging and emotionally devastating.
"Nanook of the North" (1922) (VHS; not rated)
directed by Robert J. Flaherty
In 1920 exploring American anthropologist Robert J. Flaherty
traveled alone, with camera in hand, to the remote Canadian
tundra. There, for over a year, he lived with Eskimos,
documenting their daily lives and returning to his editing
studio with the raw footage. The result of his rigorous
study was groundbreaking; with "Nanook of the North,"
Flaherty pioneered both a new cinematic genre, the narrative
documentary, and created a timeless drama of human
perseverance under the harshest conditions.
"Goldfinger" (1964) (VHS; rated PG)
starring Sean Connery, Honor Blackman, and Gert Frobe;
directed by Guy Hamilton
People can argue all they want about Moore, Dalton, Brosnan,
and even Lazenby (perhaps the most authentic Bond of all),
but there's really only one 007: Sean Connery. "Goldfinger"
was the third Bond adventure, and all the ingredients were
in place. Gert Frobe is the dastardly villain who loves only
gold, Honor Blackman is quite a handful as Pussy Galore, and
Desmond Llewelyn pops up as Q for the very first time. At
the center of it all is Bond himself, unflappable as ever,
cracking wise and saving the world.
"Shock Corridor" (1963) (VHS; widescreen; not rated)
starring Peter Breck; directed by Samuel Fuller
Sam Fuller transformed the B-movie into a gritty art form,
and "Shock Corridor" is one of his best. Breck plays an
obsessive journalist who commits himself to a mental
hospital in order to pursue a story. He soon begins to lose
his grip on sanity, and Fuller drags us down with him in a
breathtakingly raw piece of filmmaking. This may be low
budget, but it's high art.
"The Hustler" (1961) (VHS; not rated)
starring Paul Newman and Jackie Gleason; directed by Robert
Rossen
Paul Newman shines as cocky poolroom hustler "Fast" Eddie
Felson in Robert Rossen's atmospheric adaptation of the
Walter Tevis novel. Newman's Felson is a swaggering
pool-shark punk who takes on the king of the poolroom,
Minnesota Fats (a cool, assured Jackie Gleason in his most
understated performance). Director Rossen brings his film
to life with the easy pace of a pool game, giving his
actors room to explore their characters and develop into a
razor-sharp ensemble.
"Yellow Submarine" (1968)
directed by George Dunning
This quintessential slice of animated '60s psychedelia is
back, and better than ever. When the dreaded Blue Meanies
turn the people of Pepperland to stone, Sergeant Pepper and
the Fab Four set off on a musical journey to save the day.
You'd be right to assume that a plot like that could only be
inspired by something a lot stronger than a nice cup of tea,
but even without chemical assistance the remarkable
animation and (of course) memorable tunes are lots of fun.
Thirty years after it was made, "Yellow Submarine" is still
a hugely entertaining movie.
"Peeping Tom" (1960)
starring Carl Boehm; directed by Michael Powell
Michael Powell's twisted masterpiece gives a certain
well-known Hitchcock movie a run for its money with a blend
of voyeurism and murder. Carl Boehm plays a young man so
damaged by childhood abuse that he's compelled to murder
women and film their final moments. From this lurid premise
Powell crafted a movie that shocked (and still shocks)
audiences. Not only is "Peeping Tom" a fascinating and
creepy glimpse into the mind of a madman, it's a disturbing
meditation on the voyeuristic nature of cinema itself.
"The Invisible Man" (1933)
starring Claude Rains; directed by James Whale
Playing an invisible man doesn't sound like the most
auspicious start to a movie career, but Claude Rains made
his mark on Hollywood with an astonishing performance as the
crazed (and transparent) Dr. Jack Griffin. Director James
Whale--the man behind "Frankenstein"--infuses the cautionary
tale of a scientist driven mad by his discovery with lots of
black humor, and Rains carries his role off perfectly, even
though for most of the movie we can only hear his voice.
"The Italian Job" (1969)
starring Michael Caine and Noel Coward; directed by Peter
Collinson
Blimey! Michael Caine, Noel Coward, and Benny Hill team up
to steal a truckload of Italian gold in this hilarious (and
very '60s) caper movie. Coward brandishes his bone-dry wit
as an imprisoned underworld boss, while Caine is the man who
must lead a motley crew of thieves through a very
complicated heist. Hill, true to form, plays a
computer expert with a penchant for Rubenesque ladies. The
robbery itself is lots of fun, including a thrilling car
chase through, over, and under the streets of Turin, and the
ending is a real cliffhanger. Packed with quotable lines,
this film richly deserves its cult status.
"The Lavender Hill Mob" (1951)
starring Alec Guinness and Stanley Holloway; directed by
Charles Crichton
Another den of British thieves, but this time led by Alec
Guinness, playing a mild-mannered armored truck driver who
comes up with a scheme for the perfect robbery. It wouldn't
be fair to give away much more of the plot, but you can rest
assured that things do not go quite as planned. The comedies
produced by England's Ealing Studios during the '50s are
some of the funniest films ever made, and "The Lavender Hill
Mob" is one of the best. Watch out for a brief appearance by
a young Audrey Hepburn.
"How to Steal a Million" (1966)
starring Audrey Hepburn and Peter O'Toole; directed by
William Wyler
A little older, but no less lovely, Audrey Hepburn plans a
caper of her own in "How to Steal a Million." She and
accomplice Peter O'Toole have to steal a statue forged by
Hepburn's father (the wonderfully batty Hugh Griffith)
before the fake is discovered. The chemistry between the
stars is a delight, O'Toole is hilarious, and the legendary
Moustache plays one of the bumbling museum guards. It all
adds up to a thoroughly charming two hours.
"Two for the Road" (1967)
starring Audrey Hepburn and Albert Finney; directed by
Stanley Donen
Audrey again, but this time the comedy is decidedly
bittersweet. She and Finney play a couple on vacation,
looking back over 12 years of marriage. The film jumps back
and forth in time, creating a collage of their
relationship--a technique that proves to be much more
effective than a simple linear plot, thanks to the perfectly
pitched central performances. As we gradually get to know
the couple at their best and worst, "Two for the Road"
becomes one of the most complex and realistic portrayals of
married life ever made.
"The Belles of St. Trinian's" (1954)
starring Alastair Sim and Joyce Grenfell; directed by Frank
Launder
The incomparable Alastair Sim (cinema's greatest-ever
Scrooge) plays two roles--one of them female--in this
hilarious private-school farce. The headmistress of St.
Trinian's School for Girls (Sim) tries to avoid bankruptcy
by betting the remaining school funds on a horse, but her
crooked bookie brother (Sim again) and his cronies back
another horse and try to fix the race. Luckily the villains
are no match for the student body. Based on a series of
cartoons by Ronald Searle, and popular enough to inspire
four sequels, "The Belles of St. Trinian's" will make you
wish your schooldays had been this much fun.
"The Apartment" (NR),
starring Jack Lemmon and Shirley MacLaine; directed by
Billy
Wilder
Few actors have explored the more neurotic corners of the
fragile male ego as successfully as Jack Lemmon, and he's
at
his best when he's working with the patron saint of movie
cynicism, Billy Wilder. In "The Apartment" Lemmon plays a
clerk who loans his apartment to his adulterous
superiors,
significantly improving his chances of promotion, but
things
get sticky when he falls for elevator operator Shirley
MacLaine, who happens to be having an affair with
executive
Fred MacMurray. Wilder won three Oscars for "The
Apartment,"
and it deserved every one of them.
"The Birds" (PG-13),
starring Tippi Hedren and Rod Taylor; directed by Alfred
Hitchcock
Hitchcock spent almost three years in preproduction for
"The
Birds," and the result of this meticulous work was a film
that transformed a Daphne du Maurier short story into a
chilling and complex study of the breakdown of society.
Tippi Hedren plays a young woman who arrives in a small
California town only to find herself fighting for
survival
when birds begin attacking humans. Rich with metaphors
and
genuinely scary, "The Birds" is the master at his best.
"12 Angry Men" (PG-13),
starring Henry Fonda and Lee J. Cobb; directed by Sidney
Lumet
Sidney Lumet's gripping courtroom drama (his first movie)
stands head and shoulders above most other examples of
the
genre. A young man is accused of murder, and only one
juror
(Henry Fonda) believes he is innocent. As Fonda works to
change the course of the deliberations, Lumet cranks up
the
tension, and the atmosphere generated in the cramped jury
room is electric. The entire cast is superb, doing
justice
to Reginald Rose's gripping script, and Fonda is perfect
as
the idealistic and determined hero.
"Paths of Glory" (NR)
starring Kirk Douglas; directed by Stanley Kubrick
Kirk Douglas insisted that the young Stanley Kubrick direct
this story of a World War I French army regiment, and the
result was one of the most powerful antiwar statements ever
filmed. When a suicide mission goes wrong, the French
generals decide that an example must be made of the soldiers
who failed, and three of them are put on trial for their
lives. The French government banned this film for many
years, but it's not about any specific nation, it's about
the madness that war brings to all nations and the injustice
so frequently suffered by ordinary soldiers at the hands of
their supposed superiors.
"Stanley Kubrick Collection" (NR)
directed by Stanley Kubrick
Kubrick's later films more than fulfilled the promise of
early gems like "Paths of Glory." This remastered collection
of seven films, from "Lolita" to "Full Metal Jacket,"
represents 25 years of uncompromising, intellectually
challenging, and emotionally gripping cinema. Few filmmakers
exercised such precise control over their projects, and even
fewer will leave a legacy as extraordinary as that of
Stanley Kubrick.
"Lolita" (NR),
starring James Mason and Shelley Winters; directed by
Stanley Kubrick
What do you get when you cross a shocking, slyly satirical
Vladimir Nabokov novel with a Stanley Kubrick movie? You get
a Stanley Kubrick movie. The director understood that a
novel as complex and richly allusive as "Lolita" could never
be completely captured on film, so he focused on the parts
that most inspired him and created a deliciously tart black
comedy that boasts a clutch of terrific performances.
Shelley Winters, as Lolita's brash mother, is hilarious, and
Peter Sellers's Quilty is both funny and very, very creepy.
"Nights of Cabiria" (NR) ,
starring Giulietta Masina; directed by Federico Fellini
This extraordinary film follows a downtrodden but optimistic
prostitute through the streets of Rome, providing a street-
level counterpoint to Fellini's later dissection of Roman
highlife in "La Dolce Vita." Masina gives an extraordinary
performance as the prostitute Cabiria; her energy and the
subtle play of emotions across her face will win you over
completely. Much less flamboyant than Fellini's later work,
this film owes a great deal to the Italian neorealist
movement, yet the director adds his own inimitable touch to
every shot. This new edition restores a scene cut from the
original release, and it also includes an interview with
Fellini's assistant Dominique Delouche.
"High Noon" (NR),
starring Gary Cooper and Grace Kelly; directed by Fed
Zinnemann
"High Noon" is the ultimate example of the Western as
chamber piece. Eschewing the epic sweep of films like "The
Searchers," Zinnemann narrowed his focus to create a movie
that unfolds almost in real time, creating an intense
psychological portrait of small-town sheriff Will Kane (Gary
Cooper). The mythic simplicity of the plot--one man alone
against his destiny--still resonates, and Cooper gives the
performance of his career.
"Laura" (NR),
starring Gene Tierney and Dana Andrews; directed by Otto
Preminger
Preminger's version of film noir is a little more refined
than most, but no less thrilling. Dana Andrews is the gritty
cop who falls for a beautiful murder victim who turns out
not to be a victim at all. Yet. The subtle black-and-white
photography, Tierney's poised beauty, and the high-class
setting give everything an elegant sheen, but this is film
noir. Shadows lurk in every corner, and violence, betrayal,
and despair are never far away.
"The Philadelphia Story" (NR),
starring Katharine Hepburn, Cary Grant, and James Stewart;
directed by George Cukor
The recent American Film Institute screen legends poll voted
Katharine Hepburn the number one actress, while Cary Grant
and James Stewart took second and third place, respectively.
So simple mathematics would suggest that a film starring all
three would be close to perfect. Who would argue after
watching "The Philadelphia Story"? This film crackles with
great dialogue, and the three leads don't waste a word,
taking a successful Broadway play and transforming it into a
cinematic gem that's perfect in every way. Grant is wry and
witty, Stewart combines cynical wisecracks with powerful
emotional honesty, and Hepburn (who is always great) is at
her very best.
"Gaslight" (NR),
starring Ingrid Bergman and Charles Boyer; directed by
George Cukor
A very different kind of Cukor movie. In "Gaslight" the
director transformed a moody Victorian stage melodrama
(previously filmed in Britain in 1939) into a gothic
Hollywood romantic thriller. Ingrid Bergman stars as a meek
heiress courted and married in a whirlwind romance by the
debonair Charles Boyer, but when they move back into her
childhood home she begins losing her grip on reality and
becomes convinced that her husband is trying to drive her
insane. Joseph Cotten is the heroic Scotland Yard detective
who becomes enamored of Bergman's character as she slowly
slides into madness.
"Sawdust and Tinsel" (NR),
starring Ake Gronberg and Harriet Andersson; directed by
Ingmar Bergman
An early film from Ingmar Bergman that touches on many of
the themes present in his later, better-known work.
Vanishing love, godless existence, and the redemptive power
of theater all play a part in the story of a disillusioned
circus owner (Ake Gronberg) and his young mistress (Harriet
Andersson) as they set up for yet another performance in a
small town. Both contemplate leaving the circus and each
other, as Gronberg pays a visit to his now-independent wife,
and Andersson allows herself to be seduced by a local actor,
only to find herself used and humiliated.
"The Mummy" (NR),
starring Boris Karloff and Zita Johann; directed by Karl
Freund
Forget lumbering bandaged monsters (and the current
overblown "remake"), this 1932 classic is an altogether more
sophisticated type of horror movie. Boris Karloff is
mesmerizing as the revivified cadaver, determined to snare
the woman who is the reincarnation of his long-lost love.
Director Karl Freund creates a genuinely chilling
atmosphere, and a sense of creeping dread that few
subsequent horror movies would equal.
"Lifeboat" (NR),
starring Tallulah Bankhead and William Bendix; directed by
Alfred Hitchcock
Alfred Hitchcock enjoyed a challenge, and "Lifeboat" was one
of his toughest. Nine people on a lifeboat--eight survivors
of a torpedoed ship and one sailor from the Nazi sub that
sank them--suffer through several days adrift. Hitchcock
never lets the tension slip, and the performances are never
less than compelling. The complex relationships that develop
between these characters in such cramped quarters is proof
that you don't need big sets and special effects to make a
powerful film.
"Made for Each Other" (NR),
starring Carole Lombard and James Stewart; directed by John
Cromwell
The appearance of Carole Lombard and James Stewart in the
credits pretty much guarantees that a movie will be
interesting, but "Made for Each Other" is much more than
that. In an era when tastes tended toward romantic fantasy,
this story of the ups and downs of a young couple manages to
be funny, moving, and dramatically satisfying. Stewart was
an expert at playing Everyman, but Lombard is a delight,
moving deftly from comic to serious, never less than
believable.
"Wings" (NR) ,
starring Buddy Rogers and Clara Bow; directed by William
Wellman
"Wings" was the first movie to win an Academy Award for Best
Picture, and the aerial dogfight scenes in this World War I
epic still have the power to thrill. There's drama on the
ground too, when our two young heroes fall for the same
girl. Watch for Gary Cooper in a tiny role, and the "It
Girl" herself, Clara Bow, lighting up the screen whenever
she appears.
"The Killing" (NR),
starring Sterling Hayden; directed by Stanley Kubrick
Kubrick's third film is a gritty masterpiece, focusing on a
group of crooks who self-destruct while executing a complex
heist. Lucien Ballard's cinematography is dazzling--trapping
the characters in shadowy expressionist corners--and the
actors clearly relish the salty dialogue and the atmosphere
of grim desperation.
"Hidden Fortress" (NR),
starring Toshiro Mifune; directed by Akira Kurosawa
Tired of all the "Star Wars" hype? It might be time to take
a look at a film set a long time ago in a country far away.
George Lucas has acknowledged that one source for his sci-fi
epic is this 1958 movie from Japanese genius Akira Kurosawa,
and it's fun to spot the parallels between the two films. If
the Force isn't with you there's still lots to enjoy in this
thrilling adventure story, which follows a princess and her
protector as they set out on a long and dangerous journey
home.
"Sitting Pretty" (NR)
starring Clifton Webb and Maureen O'Hara; directed by Walter
Lang
"Sitting Pretty" is a hilarious satire on postwar American
mores and the squeaky-clean suburban lifestyle. Clifton
Webb's performance as Mr. Belvedere, a self-proclaimed
genius who becomes a live-in babysitter, is a delight.
Maureen O'Hara and Robert Young play the parents of
Belvedere's bratty charges in this acid-tongued comedy that
spawned two sequels.
"Move Over, Darling" (NR)
starring Doris Day and James Garner; directed by Michael
Gordon
Doris Day stars as a woman, believed dead, who returns to
find that her husband has remarried. This wacky farce (a
remake of "My Favorite Wife") is far from subtle, but Day is
as charming as ever and James Garner as her husband throws
himself into the fray with abandon. A terrific supporting
cast, including Don Knotts and Thelma Ritter, adds to the
fun.
"To Catch a Thief" (NR)
starring Cary Grant and Grace Kelly; directed by Alfred
Hitchcock
The lighter side of Hitchcock, this sparkling romantic-
comedy thriller boasts beautiful locations on the French
Riviera, a breathtakingly gorgeous Grace Kelly, and the
ever-suave Cary Grant as a reformed jewel thief who's trying
to clear his name. Jessie Royce Landis is a treat as Kelly's
bourbon-sipping mother.
"The Out-Of-Towners" (G)
starring Jack Lemmon and Sandy Dennis; directed by Arthur
Hiller
This underrated Neil Simon comedy pushes the dark-humor
envelope to the limit. In "The Out-Of-Towners," Jack Lemmon
and Sandy Dennis play a Middle American couple who visit
Manhattan and run into every worm that lurks in the Big
Apple. Lemmon is superb in a risky performance: as the
uptight, unlikable George Kellerman he never demands our
sympathy, even as his life falls apart.
Last updated January 1, 2000