I have always enjoyed genre movies, and B-movies, and disaster movies. Ronald Neame directed the greatest of these, The Poseidon Adventure, a classic Hollywood kitsch-fest that has made the idea of a fat lady swimming underwater en route to "The Holy Land" both deeply moving and faintly comic. Nor can we forget the pathos of the tough NYC cop played by Borgnine losing his wife to a sudden jolt, fall and fireball ("Linda!!!"), or Gene Hackman's tormented Vatican II priest dying to save his unlikely comrades on the cross of an inverted door-wheel. Remakes have done much to prove the commercial genius of the original, whose humour, humanity and sense of adventure (indeed) have yet to be recaptured in any such flick since. Neame made other films, but my other 70s favourite by him is The Odessa File, which manages to capture the gritty feel of the period, with a superb performance by a young Jon Voight. The scene where he avoids being crushed by a Berlin metro car is exciting, and one of my favourites, as is the shoot-out in a disused factory. A master has died.
When you open your mouth to speak, are you smart? A funny question from a great song, but also, a good one, when it comes to poets, and poetry. We tend to have a very ambiguous view of intelligence in poetry, one that I'd say is dysfunctional. Basically, it goes like this: once you are safely dead, it no longer matters how smart you were. For instance, Auden was smarter than Yeats , but most would still say Yeats is the finer poet; Eliot is clearly highly intelligent, but how much of Larkin 's work required a high IQ? Meanwhile, poets while alive tend to be celebrated if they are deemed intelligent: Anne Carson, Geoffrey Hill , and Jorie Graham , are all, clearly, very intelligent people, aside from their work as poets. But who reads Marianne Moore now, or Robert Lowell , smart poets? Or, Pound ? How smart could Pound be with his madcap views? Less intelligent poets are often more popular. John Betjeman was not a very smart poet, per se....
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