What Goes Around Comes Around: The Films of Jonathan Demme
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This first book on the director of The Silence of the Lambs and Philadelphia is comprehensive, analyzing each of Jonathan Demme’s thirteen films.
Demme received the 1980 New York Film Critics Award as Best Director for Melvin and Howard. Subsequent Demme films such as Something Wild and the Talking Heads concert film Stop Making Sense, which won the National Society of Film Critics Award for Best Documentary, made Demme a cult favorite in the league of Roger Corman.
With 199l’s The Silence of the Lambs, Demme moved into a different league. The top-grossing film of the year, Silence won five Academy Awards, becoming the first film to sweep the Best Director, Actor, Actress, and Picture categories since 1975’s One Flew Over the Cuckoo’s Nest. Philadelphia also has been a top-grossing film, with Tom Hanks winning 1994’s Best Actor Oscar.
Michael Bliss and Christina Banks include a wealth of biographical and critical data; an exclusive interview with Demme; the only on-set report on the filming of The Silence of the Lambs; an interview with Craig McKay, Demme’s Emmy-winning film editor; a bibliography; and a Demme filmography. Many of the book’s movie still illustrations have never been published.
also have a complicated emotional relationship with their crotchety father, Floyd (Roberts Blossom). Contrasted to the romantic triangle controlled by Pam is Page 33 one dominated by truck driver Harold (Charles Napier), whose bigamy is exposed when his two wives both show up to nurse him after he runs his rig into a ditch. Additionally, there are conflicts created by the people spuriously using the CB airwaves, especially the emergency channel, which is needed three times in the film.
recognizes how compromised their friendship would be if he stayed and, presumably, does not want to again risk coming between her and Jack. As he leaves, Lucky pauses to look at himself and Kay in the mirror above her dresser; as in many Demme films (e.g., Married to the Mob, in which Angela stares at her reflection), such self-contemplation offers a bitter moment of self-knowledge. Hawn's added dialogue and scenes continue to stress Lucky's centrality, however. Before he goes, Hawn's Lucky
voyage of self-examination and self-indulgence, ultimately leaving us pleasantly adrift at the film's end. Swimming to Cambodia is a film about the politicization of a typical American (which is, after all, what Gray sets himself up to be; for Page 78 an hour and a half, he is our guide through the national consciousness). Curiously, it's a politicization that occurs as a result of a movie (surely if Gray can become politicized by becoming involved, not with the actual war in
any case, many gays continued to have indiscriminate, unprotected sex right through the late 1980s and early 1990s; some probably still do, and it's just such behavior that Philadelphia places itself in opposition to. Like Joe, Andy reveres the law. In response to Joe's question about what he loves about the law, Andy states, "Every now and again, not Page 134 often but occasionally, you get to be a part of justice being done. That really is quite a thrill when that happens,"
79-80 Johansen, David, 95 Judaism, 4, 47 K Kael, Pauline, 82 Kaplan, Jonathan, 15 Killing Fields, The (film), 76, 78 Klawans, Stuart, 125, 135 Kubrick, Stanley, 7 L Lahti, Christine, 50 Last Embrace, The (film), 4, 6, 7, 12, 46-48, 50, 109; Hitchcock influence, 46-47, 142, Judaism in, 47 Last Waltz, The (film), 75 Lawrence, D. H., 77 Lazar, Paul, 6, 96, 115 Lazzarus, Q, 5 Leachman, Cloris, 25 Le Mat,