(This is very much a Mary, Queen of Scots, Not Dead Yet posting — coming after two days in which I was almost totally felled by the humid heat we’ve been experiencing (though I did get in a much-needed shower at 2 in the morning yesterday), and barely functioned. All this sadly in utter solitude: not a word with another human being between two exchanges with caregivers, on Saturday morning and yesterday afternoon.)
… with a note on Stanley Kubrick’s directorial techniques.
First, Don Boorleone.
The portmanteau slam. From Tim Pierce on Facebook yesterday, about the Atlanta GA mug shot of defendant P01135809 in the Fani Willis indictment of Helmet Grabpussy and 18 others on RICO — criminal racketeering — charges (the mug shot will appear below, in a display of faces):
— TP: At last, a picture of Don Boorleone that I can truly admire.
— AZ > TP: Is Don Boorleone — a portmanteau of Don Corleone and boor — your own epithet for this person (like my Helmet Grabpussy)? Google finds no cites for it.
— TP > AZ: it’s my invention, though I wouldn’t be surprised to see that someone else thought of it independently. (I also liked it because his name is, well, Don.)
About Don Corleone, from Wikipedia:
(#1) Marlon Brando as Don Corleone (photo: Paramount / Kobal / Shutterstock)Vito Corleone (born Vito Andolini) is a fictional character in Mario Puzo’s 1969 novel The Godfather and in the first two of Francis Ford Coppola’s film trilogy. Vito is originally portrayed by Marlon Brando in the 1972 film The Godfather, and later by Oreste Baldini as a boy and by Robert De Niro as a young man in The Godfather Part II (1974). He is an orphaned Sicilian immigrant who builds a Mafia empire.
… Vito oversees a business founded on gambling, bootlegging, prostitution, and union corruption, but he is known as a kind, generous man who lives by a strict moral code of loyalty to friends and, above all, family. He is also known as a traditionalist who demands respect commensurate with his status; even his closest friends refer to him as “Godfather” or “Don Corleone” rather than “Vito”.
The scowl of the Don. This observation from Fabio D’Aleo on Facebook yesterday (passed along to me by Hana Filip):
(#2) Kubrick stares from A CLOCKWORK ORANGE, THE SHINING, and FULL METAL JACKET; plus Don Boorleone’s mug shot scowl“The Kubrick Stare” is one of director Stanley Kubrick’s most recogizable directorial techniques. A method of shot composition where a character stares at the camera with a forward tilt, to convey to the audience that they are at the peak of their derangement.
