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    At the movies

    Georgy Girl director's death overlooked: What does it take to get an obit in theNew York Times?

    Joe Leydon
    Aug 21, 2011 | 3:07 pm

    While trolling the obituaries in Variety yesterday – don’t ask why, you don’t want to know – I was surprised to find a piece on Canadian-born filmmaker Silvio Narizzano. Surprised, that is, because this was the first mention I’d read of the guy’s death, even though he’d passed away on July 26, and the obit had posted on Variety.com Aug. 8.

    And as I Googled his name, to read what others had to say, my surprise gave way to amazement because, except for this respectful appreciation in The Australian, and this article in the Guardian, I really couldn’t find much else anywhere. Seriously: No other obit of any substance, not even in The New York Times or Los Angeles Times.

    And why, you might ask, would I have expected otherwise?

     

      Despite the obscurity that had enveloped Narizzano long before his death, the general lack of attention paid that death is surprising. And, yes, a little sad.

    Well, to be honest, I would have anticipated at least a fleeting mention of Narizzano’s death in a few movie blogs because he directed Tallulah Bankhead (in her final screen performance) and a very young Donald Sutherland in Die! Die! My Darling! (1965), arguably the campiest of all those high-camp ‘60s gothic thrillers that provided gainful employment for aging screen queens (a subgenre spawned by the classic Bette Davis-Joan Crawford matchup in 1962’s What Ever Happened to Baby Jane?).

    And surely (or so I would have thought) devotees of Le Bad Cinema might have wanted to tip their Stetsons to Narizzano in acknowledgement of Blue (1968), his legendarily ill-conceived Western starring Terence Stamp – yes, that Terence Stamp – as a moody young gringo who was raised by Mexican bandits and befriended by Texas settlers, but inexplicably spoke with a thick British accent that made him sound like… like… well, like Terence Stamp.

    Just how bad was Blue? Well, let me put it this way: The film was produced by Paramount back in the day when Robert Evans and Peter Bart lit most of the green lights. When I recently interviewed Bart about Infamous Players: A Tale of Movies, The Mob (and Sex), his hugely entertaining account of his Paramount misadventures, I noted, only half-jokingly: “I’m probably the only interviewer you’ll meet while promoting this book who actually paid first-run admission to see Blue.” Bart, not even a quarter-jokingly, replied: “I guess I should apologize to you for that.”

    But seriously folks: The real reason I was surprised by the dearth of obits for Narizzano is another movie that looms large on his resume. An era-defining film that launched a few notable careers, earned a few major Oscar nominations, helped kick off the ‘60s cycle of seriocomic flicks about Swinging England, and introduced an irresistibly bouncy title song that, to this day, remains a staple of Golden Oldie radio stations: Georgy Girl.

    Yes, this Georgy Girl – the affectingly bittersweet comedy-drama starring Alan Bates, Charlotte Rampling, James Mason and, in the title role, the late, great Lynn Redgrave. Not a masterwork, perhaps, and not the kind of film that people under 30 often are exposed to. I can’t say it’s even discussed much by serious cineastes anymore, or screened at all in college film studies courses. But, trust me, for those of us who were the right age to see it way back during its original theatrical run – well, whenever someone or something reminds you about it, you remember it very fondly.

    Looking back at Narizzano’s resume, it’s painfully obvious that whatever career momentum he gained from Georgy Girl – which netted him a DGA Award nomination – was dissipated by the train wreck that was Blue. (Another problem: He reportedly had a lifelong problem with depression.)

    He continued to work off and on in movies and TV until the ‘90s, accumulating a few respectable credits here and there – including filmizations of Loot, a Joe Orton comedy starring Lee Remick, Milo O'Shea and Richard Attenborough, and Come Back, Little Sheba, a William Inge drama starring Sir Laurence Olivier, Joanne Woodard and Carrie Fisher – but never quite managing to make lightning strike a second time.

    And yet: Despite all that, despite the obscurity that had enveloped Narizzano long before his death, the general lack of attention paid that death is, as I’ve said, surprising. And, yes, a little sad. I’ve often claimed that, sometimes, all it takes is one classic film for a filmmaker to achieve a kind of immortality. On other occasions, however, it appears that really isn’t enough.

     Joe Leydon writes about movies on MovingPictureBlog.

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    Movie Review

    New Superman movie forges into the future while honoring the past

    Alex Bentley
    Jul 11, 2025 | 3:30 pm
    David Corenswet in Superman
    Photo by Jessica Miglio
    David Corenswet in Superman.

    When the character of Superman was invented in 1938, it was perhaps easier to see the world in good and bad terms. Fascism was already on the rise in Germany under Adolf Hitler, and the idea of an all-powerful superhero who stood up for people in need was a welcome one. In the nearly 90 years since, though, the world and the character have undergone multiple evolutions, and the thought of someone who is purely good is often met with cynicism or worse.

    The new Superman, written and directed by James Gunn, puts the superhero (or metahuman, as the film calls him and similar creatures) squarely in the midst of the modern world, with geopolitical conflicts, mega-corporations, and social media all combining to make the altruism of Superman/Clark Kent (David Corenswet) questionable. That skepticism even extends to his coworker/girlfriend Lois Lane (Rachel Brosnahan), whose knowledge of his exploits puts her in a tricky position personally and professionally.

    Lex Luthor (Nicholas Hoult) is out to dominate the world and take down Superman, with his eponymous corporation and vast group of underlings dedicated to doing both. Superman is generally a one-man fighting crew, but he’s occasionally aided by a group calling themselves the Justice Gang, comprised of heroes many have never heard of like Guy Gardner (Nathan Fillion), a version of Green Lantern; Hawkgirl (Isabela Merced), a flying metahuman; and Mr. Terrific (Edi Gathegi), who knows all kinds of technology.

    One of the best things about this new version of Superman is that it mostly dispenses with introductions, putting the audience in a world where Superman is already a well-known quantity who’s adored by many and hated by some. Gunn has used his new position as co-CEO of DC Studios to honor the past of the hero and take him into the future. With the 1978 John Williams theme song echoing throughout and Corenswet giving off Christopher Reeve vibes, it’s clear Gunn wants audiences to feel nostalgia while still getting something new.

    He also appears to want viewers to fight against the negativity that the modern world can bring. The plot involves manipulation of the public, usually at the hands of Luthor, through bombastic talk shows, political theater, and social media, the latter of which — in a great joke — comes to involve hundreds of typing monkeys. The film could be read as a rebuttal of many real-world ills as, despite Luthor’s machinations, many choose to continue to believe in the goodness of Superman.

    There is a lot going on in the film, but somehow it never comes off as overly complicated. Superman’s relationship with Lois Lane and Luthor’s attempts at taking him down are given the most prominence, with everything else supporting those two main things. The Justice Gang is a fun addition, with Mr. Terrific becoming the breakout hero of the group. The addition of the (CGI) dog Krypto provides levity, poignant moments, and unexpectedly great action scenes. The only part that gets somewhat short shrift is the crew of The Daily Planet, with everyone besides Lois and Jimmy Olsen (Skyler Gisondo) getting little more than face time.

    Being the new Superman is a lot to live up to, but Corenswet is completely up to the job. He, like Reeve, plays the character as someone who is earnest but not naive, a quality that comes through even when he’s in the middle of fight scenes. Brosnahan is also fantastic, providing a nice balance to the relationship while also proving the character’s own worth. Hoult makes for a great new version of Luthor, and Gathegi nearly makes the case that Mr. Terrific should get a starring film of his own.

    Just as he did with the Guardians of the Galaxy trilogy, Gunn has shown that success can be found through making characters people want to see. Not everyone in this Superman will be familiar to viewers, but in the end a group of people working together toward a goal that serves the common good is one worth watching and cheering for.

    ---

    Superman is now playing in theaters.

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