November 12, 2016 § Leave a comment
Like a lot of people, I discovered Leonard Cohen though Judy Collins’ covers of his songs “Suzanne,” “The Stranger Song” and “Sisters of Mercy.” Later I came to prefer his own versions of those songs and others, finding nuance that the singers who covered them lacked. I don’t know why I never saw him in concert, but I did encounter him on one of his recent tours, walking toward me through a Bay Area hotel lobby in a dapper suit and fedora. His handsome guitarist caught my eye first, and by the time I registered Cohen’s surprising appearance he had almost passed by. Though we were all staying at the hotel I saw only the guitarist again, to my regret.
Earlier this year I wrote about a screening of Robert Altman’s “McCabe and Mrs. Miller” that commemorated the cinematography of Vilmos Zsigmond, who died on New Year’s Day. One of the things I liked most about the film was its score: three perfect songs by Leonard Cohen, sung by him. Despite all the articles and obituaries that have been printed this week, “McCabe and Mrs. Miller” remains my favorite tribute to Cohen’s work. Here’s a link to the post, which includes a clip from the film: https://underthehollywoodsign.wordpress.com/2016/03/15/revisiting-mccabe-and-mrs-miller-robert-altman-and-vilmos-zsigmonds-western-masterpiece/
March 15, 2016 § 2 Comments
No one who has seen “McCabe” could forget its climactic shoot-out, or the opening scene, a long pan over the mountainous landscape that Beatty traverses on horseback, disguised by his huge bearskin coat:
The Q & A afterwards featured Robert Altman’s widow, Kathryn, and the actors Keith Carradine and William Devane. All spoke fondly of the shoot, which took place in Vancouver and featured real snow, real carpenters (some of whom lived on set) and communal living in a nearby subdivision. Carradine, only 21 at the time and fresh off the Broadway run of “Hair,” talked about his death scene (being yanked off his horse by a wire into freezing water) and the magic of the roughly six-minute, music-free shootout that ends the film. It couldn’t happen in movies today, he said, with their omnipresent scores. (I agree: the fact that the score of “McCabe” consists almost entirely of three Leonard Cohen songs seems in retrospect wildly, wonderfully new. Someone should try it again, dispensing with the sonic wall that too often serves as an emotional crutch in today’s films.)
Six days later, I was shocked to hear that Kathryn Altman had died suddenly of a heart attack. Though she was 91, she seemed far younger, and her death was unexpected. The screening of “McCabe and Mrs. Miller,” at which she paid tribute to the late Vilmos Zsigmond, was her last public appearance.