056. Papillon

056. (08 Feb) Papillon (1973, Franklin J. Schaffner) 48



An entertaining adventure, but Papillon is hardly a film for the ages. From his shoddy ability to show the passage of time to a couple wretched dream sequences, Schaffner makes questionable choices that keep his film from feeling accomplished. Above all, the runtime's insanely bloated. I'm sure the film could go without any number of things like a montage of Steve McQueen cavorting with an island girl.

The fact that this is regarded as McQueen's best performance suggests what an oxymoron that is. He and Dustin Hoffman are believable buddies, but neither is strong here. Lovely, varied photographed and Jerry Goldsmith's score are the strongest assets. I'm frankly surprised Goldsmith managed an Oscar nomination, even though his score is magical, since it's not in use for the vast majority of the film.

Alternate Best Actor 1973: Results

5. James Coburn in Pat Garrett and Billy The Kid- Coburn does an excellent job of mixing in the weightier elements of his performance along with just being the bad ass that Pat Garrett should be.

4. Edward Fox in The Day of the Jackal- Fox's performance is a true accomplishment in making such a unique reality driven characterization of the type of character that is often portrayed in the exact opposite fashion.

3. Steve McQueen in Papillon- This tremendous work by McQueen not only puts on display once again McQueen unique screen presence, but here he also is able to show how powerful of an actor he really could be.

2. Martin Sheen in Badlands-This is a great performance by Martin Sheen who goes out on a limb with his portrayal and never stops for a moment in this outstanding performance.

1. Gene Hackman in Scarecrow- This was certainly a difficult year to choose out of the top four, but as well as with the overall. This is just an incredible year for lead performances. Gene Hackman's is my second favorite of the year though through his powerful unique portrayal in his film.

Overall Rank:

1. Jack Lemmon in Save the Tiger
2. Gene Hackman in Scarecrow
3. Martin Sheen in Badlands
4. Jack Nicholson in The Last Detail
5. Jason Miller in The Exorcist
6. Steve McQueen in Papillon
7. Edward Fox in The Day of the Jackal
8. James Coburn in Pat Garrett and Billy The Kid
9. Paul Newman in The Sting
10. Al Pacino in Scarecrow
11. Carl Anderson in Jesus Christ Superstar
12. Harvey Keitel in Mean Streets
13. Ted Neeley Jesus Christ Superstar
14. Walter Matthau in Charley Varrick
15. Kris Kristofferson in Pat Garrett and Billy The Kid
16. Clint Eastwood in Magnum Force
17. Dustin Hoffman in Papillon
18. Al Pacino in Serpico
19. Michael Moriarty in Bang the Drum Slowly
20. Charlton Heston in Soylent Green
21. Robert Redford in The Sting
22. Timothy Bottoms in The Paper Chase
23. Roger Moore in Live and Let Die
24. Richard Benjamin in West World

Next Year: 1973 supporting

Alternate Best Actor 1973: Steve McQueen in Papillon

Steve McQueen did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Henri 'Papillon' Charriere in Papillon.

Papillon is an effective film, if somewhat overlong, about a man attempting to escape from the infamous prison Devil's Island. 

Steve McQueen is an actor known for his screen presence that makes him well the King of Cool for a reason. McQueen certainly has many examples of getting through a film very well through simply through his coolness. Papillon though is most certainly a very different story for McQueen who probably gives his most character driven performance here as Papillon a small time crook who is wrongly convicted of murder that leads him to life imprisonment in the seemingly inescapable Devil's Island.

This is not to see McQueen usual screen presence is still used here is most certainly is, and that is important at the beginning of the film as he quickly must makes sympathize with his plight as Papillon thinks of escape from the time he in the boat taking him to the island in the first place. McQueen takes command of the screen in his usual effortless fashion bringing us into sympathy with Papillon with an incredible ease even though we never do see clearly that he did not murder the man, but McQueen has the right conviction to show us it that it is the truth.

Early on the film McQueen is a very quiet and effective in conveying the strength within Papillon that makes it clear that Papillon he will try to find anyway he can to escape the island. McQueen is excellent in conveying the underlying passion in Papillon that is always something there within him through the entire film that pushes him forward to keep trying to find ways to escape. McQueen has such a great power in the role that establishes Papillon as a intelligent hero who will adapt to find a way out of his troubling predicament.

Papillon attempts his way out by offering protection to a rich fellow prisoner Louis Dega (Dustin Hoffman). Although Papillon only treats Dega as a tool to be used, much as how Dega treats Papillon the two due to their mutual predicament do become friends. McQueen and Hoffman really have some great chemistry here, and although very different types of actors in style they work together wonderfully well. The two ease into the friendship in a believable fashion that works well, there are not scenes devoted to it but the two create the friendship as the film goes along well.

The two's dynamic works well as Hoffman expresses the situations with the right fear, sickness, as a man inexperienced individual. McQueen is strong though as he shows Papillon who is more accustom to the harsh life, and even acts as a bit of a calming presence to Dega. What is fascinating though is the way McQueen technically has the less expressive role at first still manages to honestly be the more compelling performance here. He does incredibly well by bringing us into Papillon's struggle, as even as Papillon is able to handle the horrors McQueen still powerfully portrays more subtle reactions to them. 

The extreme understated way of his performance though does change in a way after Papillon finds himself in solitary confinement after a botched escape attempt. Really here is probably a place where honestly the film could have been trimmed, but McQueen performance here is so good I'm glad it was not. McQueen is outstanding in his portrayal of Papillon's physical and psychological degradation in the series of scene. He is so brutally painful here in how uncompromising his depiction of it all. It is a sad disheartening portrayal of how the extreme nature of the punishment can even damage the strong willed Papillon.

After finally being released though McQueen is good in showing that Papillon is not finished by any measure, and McQueen makes this entirely convincing showing that Papillon's will is powerful enough to push forward in another escape attempt. McQueen brings right along with him in his next attempt and is able to do so well in bringing to life every emotion to each situation. Whether it is his anger in yet another double cross, the pleasure of finding some brief happiness with a group natives, or bringing the weight to the moment in which Papillon sees he still will not be a free man once again. McQueen never fails to pulls us right into Papillon's struggle in every scene.

Papillon after being caught one more time is put through five years of solitary and finally being sent out to a secluded and calmer part of the prison. McQueen is excellent in these final scenes of the film as we see Papillon almost broke physically. McQueen shows Papillon as a tired man barely able to even effectively call out to his old friend Dega. Importantly though McQueen poignantly still portrays the glimmer of the passion in Papillon left to push him to try at least one more time to escape.

The final moments of the film is made especially moving by McQueen and it shows what is so great about his performance. In his performance he truthfully creates an honest depiction of the perseverance of human spirit, that is something that can seem very forced in so many instances, but McQueen does it beautifully here. This is a great performance that creates the compelling character of Papillon authentically and this may be his very best performance. This tremendous work by McQueen not only puts on display once again McQueen unique screen presence, but here he also is able to show how powerful of an actor he really could be.

Alternate Best Actor 1973

And the Nominees Were Not:

Edward Fox in The Day of the Jackal

Steve McQueen in Papillon

Martin Sheen in Badlands

Gene Hackman in Scarecrow

James Coburn in Pat Garrett and Billy the Kid

I'll apologize in advance for leaving so many out as this year simply was packed.

Black Sheep interviews Michael Fassbender

Ain’t No Shame
An interview with Michael Fassbender, star of SHAME


Note: This article was originally published in Montreal's Hour Community.

It can be a bit jarring to go from watching an actor on screen one minute to seeing them sitting directly in front of you the next. It can even be somewhat awkward when you’ve just watched said actor engage in a multitude of sexually explicit encounters on film. When the actor you’re speaking with though is as effortlessly talented as Michael Fassbender is, you quickly realize there is no shame in it at all.

In SHAME, British filmmaker, Steve McQueen’s sophomore effort, Fassbender is naked within minutes of the film starting, so it seems only fitting to begin our conversation there as well. “It’s kinda embarrassing,” says the actor who has nothing at all to be embarrassed about. At this point, I laugh out loud and when Fassbender realizes I’m shocked that he was the least bit shy given how good he looks, he jokes, “Oh I see. You were having a gay old time then.” On that note, the Irish-German actor is clearly quite the charmer, even when fully clothed.

The 34-year-old Fassbender, who won the Best Actor prize at the Venice Film Festival, plays Brandon in SHAME, a sex addict living in New York City. It would seem to me that if you’re going to tell a sex addict’s story on film, you’re going to need to see a little sex happen, but some people have argued that SHAME not only goes too far but that it relishes in its boundary pushing. “It’s ludicrous to me,” Fassbender explains, with only a hint of outrage. “You can take someone’s head off with a cheese cutter but heaven forbid should you show a penis.”

As much as it is about sex, SHAME isn’t really about sex at all; it’s about a person with an addiction. Brandon isn’t the easiest character to like either. He uses women whenever required and he is horribly unsupportive to his sister, Sissy (Carey Mulligan), but Fassbender was never concerned people wouldn’t come around to Brandon. “I knew people were going to like him because I liked him, because he was a guy that knew he was ill. He is a product of our time.”

Despite Brandon’s timeliness, the Motion Picture Association of America has slapped an NC-17 rating on the film, which prohibits anyone under 18 years of age from seeing it, regardless of whether they are accompanied by an adult or not. Ordinarily, this rating means box office death but SHAME wears its badge proudly and is doing well in limited release despite it. “It can be a good thing,” Fassbender says of the rating. “The most important thing is to get people talking about it. That creates curiosity and it only seems to put more bums in the seats in the end.”

A few cuts to the film could have brought the rating down to an R, to which Fassbender responds, “Good luck trying to convince Steve McQueen on that!” Fassbender and McQueen had previously worked together on McQueen’s debut feature, HUNGER, a 2008 film about the 1981 Irish Republican Army hunger strike, as led by Bobby Sands, whom Fassbender portrays in the film. (Incidentally, the two are scheduled to work together again on McQueen’s third feature, TWELVE YEARS A SLAVE, expected in 2014.) “He’s the only person I could have asked to do this,” McQueen tells me about casting Fassbender in Shame. “I don’t believe he’s an actor. He doesn’t act. What he does is a different thing altogether.”

Whatever it is he does, Fassbender will be doing it for quite some time if he keeps up this pace. Upcoming projects for the Best Actor Oscar frontrunner include work with some of today’s most famed directors, from David Cronenberg (A DANGEROUS METHOD) to Steven Soderbergh (HAYWIRE) to Ridley Scott (PROMETHEUS), which is exactly where Fassbender wants his career to be. “The way it is at the moment is pretty perfect for me. I get to work with great filmmakers and that’s as simple as it gets. I just want to mix it up and keep myself guessing.”

Best of Black Sheep: SHAME

SHAME
Written and by Abi Morgan and Steve McQueen 
Directed by Steve McQueen
Starring Michael Fassbender and Carey Mulligan


Brandon: Some people fuck up all the time.

Steve McQueen’s sophomore film, SHAME, begins with his returning star, Michael Fassbender, lying in bed, staring at the ceiling or into some far off space. He doesn’t move; he just lies there half covered by the blankets for some time. Something in his eyes suggests he can’t move just yet. He is trapped in those precious morning moments, where you become aware again of everything sleep managed to erase temporarily the night before. To get up, means having to face it all again and once you see what it is this particular man is trying to avoid, it becomes pretty obvious pretty quickly why he would rather stay in bed.

Fassbender, who owes a great deal of his notoriety to McQueen after the two worked together on  McQueen’s first feature, the brilliant HUNGER, plays Brandon, a New Yorker with a fancy job and an even fancier apartment. He presents perfectly in every fashion but he is hiding a secret, one so big that it could threaten everything he has in his life. Brandon is a sex addict. Some scoff at the whole idea that someone can actually be addicted to sex, as if it is some sort of made up excuse people use to get off the hook for indiscretions. The way McQueen writes the affliction though, it becomes painfully obvious that sex addiction is in fact very real and likely pretty rampant. I wouldn’t call it a disease but it is certainly a learned behaviour that triggers the same pleasure and comfort responses in the brain that any addiction would. Brandon needs sex in his life and he gets more than a little antsy when he doesn’t get his fix.

SHAME does not judge nor does it invite us to judge Brandon. That said, we are not asked to sympathize either. We are simply given the opportunity to observe a man in some of his weaker, more vulnerable moments. Brandon is able to manage his needs fairly well when he has routine in his life but when his sister (Carey Mulligan) comes to stay with him, he is no longer able to keep his habits in the closet. Subsequently, we are witness to them all, in all their naked and sordid glory - this is a movie about sex addiction, after all; you should expect a fair amount of sex. Fassbender is brilliant and fearless as Brandon. As he processes what he’s doing and how it is affecting those around him and his self, Fassbender carries this weight in his entire body. (And I do mean, his entire body.) With SHAME, McQueen and Fassbender prove they aren’t afraid of anything and that HUNGER wasn’t a fluke. The only real shame would be if no one saw this film.

Black Sheep interviews Steve McQueen

THE SHAMING OF STEVE MCQUEEN
An interview with Steve McQueen, writer/director of SHAME

The other day, I joked to a friend that I had received shame in the mail. Of course, I was referring to my review copy of SHAME by Steve McQueen, but I preferred to remain cheekily ambiguous. It did get me thinking about how the title of the film might be more apt than originally imagined though. Sadly, SHAME, one of this critic’s top picks from last year, was scarcely seen in theatres. I had been out to see it twice and was deeply moved both instances but when the topic is sexual addiction and the content is widely publicized as explicit, the crowds do not always follow. There is at times an underlying sense of shame in seeing something so sexual amidst strangers. Perhaps now that the film is available for home consumption, privacy will make way for its genius to be appreciated. I’m just pleased it didn’t come wrapped in black plastic.

McQueen, a novice director whose mastery of the language of film is miles away from amateur, knows that the film is a hard sell but suspects that there are other levels to the depths of our shame. “He’s like us,” McQueen tells me of his protagonist, Brandon (Michael Fassbender), when we meet at the Toronto International Film Festival in 2011. “We do not have self worth. If we did, the world would be a fantastic place but we keep on fucking up and trying to fix it.” The notion here is that those who cannot handle Brandon, don’t want to look at themselves. McQueen continues, “He’s trying, that’s what is so endearing about him. I’ve come to appreciate that people who have an affinity with Brandon is because they understand him and I think that’s important.”

Asking people to understand Brandon means asking them to accept sexual addiction as a legitimate affliction. This is something even McQueen had a hard time with before he sat down to write the screenplay for SHAME with co-writer, Abi Morgan (THE IRON LADY). “When I first heard of sexual addiction, I laughed of course, as you do. It’s like if we take a great drunk, makes everyone laugh. Well, when you realize it takes him two bottles of vodka to make it through the day, it ceases to be funny. When it comes to sex addiction, you realize this guy has to have sex, to a certain extent, every day and it then ceases to be titallating. Any emotional involvement, any emotional risk at all, it just fucks him up.”

SHAME is McQueen’s second film and also second working with Fassbender in the leading role. Their first pairing was McQueen’s award winning debut, HUNGER, where Fassbender played Irish Republic Army leader, Bobby Sands, during his time in prison. The two are slated to work together again on McQueen’s third feature, TWELVE YEARS A SLAVE, so what is it about McQueen that keeps Fassbender coming back for more? “The one thing that really impressed me when we were in Northern Ireland, doing HUNGER, was the passion that everybody came to the set with. Nobody wanted to let Steve down,” says Fassbender, before he takes a breath and continues to gush about his friend and colleague. “Steve leads by example. He is a very open, confident man. He’s not afraid to fall flat on his face, or rather he is afraid but not afraid to show that he’s afraid and show his vulnerabilities. That makes him a giant, very strong, so people follow him.”

McQueen is a concise man, both in his artistic expression and general conversation. When asked about the choice of New York City as location for SHAME, he says, “New York is the epicenter of excess.”

When asked about the lack of backstory for Brandon and his equally damaged sister, Sissy (Carey Mulligan), he says, “I didn’t want to be mysterious at all; I wanted to it be familiar.”

And when asked why he favors such long shots in his films, he says, “The content demands the form. Some times long is long but sometimes long is necessity.”

Our interview took place in under 10 minutes and he was able to answer almost ten questions in that time. His answers were sometimes curt and abrasive and other times flourished and detailed; it all depended on what was asked. What is unmistakably clear after meeting McQueen is that he certainly has no shame whatsoever for anything he has done in his career and nor should he. He makes art for art’s sake and what people think of his work, well he is just as efficient with that answer too. “Whether people like it or they don’t like it, either way, I don’t care. I just hope they’re very passionate about it.”

SHAME is now available to rent or own. Do not be ashamed to bring it into your home.

Black Sheep interviews Michael Fassbender

AIN'T NO SHAME
An interview with SHAME star, Michael Fassbender.

It can be a bit jarring to go from watching an actor on screen one minute to seeing them sitting directly in front of you the next. It can even be somewhat awkward when you’ve just watched said actor engage in a multitude of sexually explicit encounters on film. When the actor you’re speaking with though is as effortlessly talented as Michael Fassbender is, you quickly realize there is no shame in it at all.

In SHAME, British filmmaker, Steve McQueen’s sophomore effort, Fassbender is naked within minutes of the film starting, so it seems only fitting to begin our conversation there as well. “It’s kinda embarrassing,” says the actor who has nothing at all to be embarrassed about. At this point, I laugh out loud and when Fassbender realizes I’m shocked that he was the least bit shy given how good he looks, he jokes, “Oh I see. You were having a gay old time then.” On that note, the Irish-German actor is quite the charmer, even when fully clothed.

The 34-year-old Fassbender plays Brandon in SHAME, a sex addict living in New York City. It would seem to me that if you’re going to tell a sex addict’s story on film, you’re going to need to see a little sex happen but some people, let’s call them the more conservative film critics out there, have argued that Shame not only goes too far but that it relishes in its boundary pushing. “It’s ludicrous to me,” Fassbender explains, with only a hint of outrage. “You can take someone’s head off with a cheese cutter but heaven forbid should you show a penis.”

As much as it is about sex, SHAME isn’t really about sex at all; it’s about a person with an addiction. Brandon isn’t the easiest character to like either. He uses women whenever required and he is horribly unsupportive to his sister, Sissy (Carey Mulligan), but Fassbender was never concerned people wouldn’t come around to him. “I knew people were going to like him because I liked him, because he was a guy that knew he was ill. He is a product of our time.”

Despite Brandon’s timeliness, the Motion Picture Association of America has slapped an NC-17 rating on the film, which prohibits anyone under 18 years of age from seeing it, regardless of whether they are accompanied by an adult or not. Ordinarily, this rating means box office death but SHAME wears its badge proudly and is doing well in limited release despite it. “It can be a good thing,” Fassbender says of the rating. “The most important thing is to get people talking about it. That creates curiosity and it only seems to put more bums in the seats in the end.”

While Fassbender does see the controversy as a roundabout marketing push, he does not agree with the scrutiny itself. “Whatever rating people want to slap on it is kinda irrelevant. The fact is that I felt comfortable doing the scenes with Steve because I knew that it wouldn’t be exploitative. It’s real. It’s part of the story. It’s part of getting inside this guy’s head and where he’s coming from.”

A few cuts to the film could have brought the rating down to an R, to which Fassbender responds, “Good luck trying to convince Steve McQueen on that!” Fassbender and McQueen had previously worked together on McQueen’s debut feature, HUNGER, a 2008 film about the 1981 Irish Republican Army hunger strike, as led by Bobby Sands, whom Fassbender portrays in the film. (Incidentally, the two are scheduled to work together again on McQueen’s third feature, TWELVE YEARS A SLAVE, expected in 2014.) “He’s the only person I could have asked to do this,” McQueen tells me about casting Fassbender in SHAME. “I don’t believe he’s an actor. He doesn’t act. What he does is a different thing altogether.”

Whatever it is he does, Fassbender will be doing it for quite some time if he keeps up this pace. Upcoming projects for the Best Actor Oscar frontrunner include work with some of today’s most famed directors, from David Cronenberg (A DANGEROUS METHOD) to Steven Soderbergh (HAYWIRE) to Ridley Scott (PROMETHEUS), which is exactly where Fassbender wants his career to be. “The way it is at the moment is pretty perfect for me. I get to work with great filmmakers and that’s as simple as it gets. I just want to mix it up and keep myself guessing.”

And it would be an awful shame if he weren't allowed to continue doing just that.

459. Shame

459. (08 Nov) Shame (2011, Steve McQueen)* 53



McQueen's promising Hunger seems to have been a fluke. None of the bright insight of that film is here. Instead, we're given a moralizing, ridiculously vague film that uses stylizing to compensate for its lack of content. While Michael Fassbender does far more with an undercooked script than most could, even he bends and breaks under ridiculous scenes like one where he stands and the rain and weeps. There are moments of perfection here, however. One of the best scenes of the year has Fassbender on a first date. It's a single take in a restaurant that could scarcely be more charming or real. Too bad the film is ruined with awfulness like Carey Mulligan singing "New York, New York" or surviving a suicide attempt.

TIFF Review: SHAME

Written by Abi Morgan and Steve McQueen

Directed by Steve McQueen

Starring Michael Fassbaender and Carey Mulligan

Brandon: Some people fuck up all the time.

Steve McQueen’s sophomore film, SHAME, begins with his returning star, Michael Fassbender, lying in bed, staring at the ceiling or into some far off space. He doesn’t move; he just lies there half covered by the blankets for some time. Something in his eyes suggests he can’t move just yet. He is trapped in those precious morning moments, where you become aware again of everything sleep managed to erase temporarily the night before. To get up, means having to face it all again and once you see what it is this particular man is trying to avoid, it becomes pretty obvious pretty quickly why he would rather stay in bed.

Fassbender, who owes a great deal of his notoriety to McQueen after the two worked together on  McQueen’s first feature, the brilliant HUNGER, plays Brandon, a New Yorker with a fancy job and an even fancier apartment. He presents perfectly in every fashion but he is hiding a secret, one so big that it could threaten everything he has in his life. Brandon is a sex addict. Some scoff at the whole idea that someone can actually be addicted to sex, as if it is some sort of made up excuse people use to get off the hook for indiscretions. The way McQueen writes the affliction though, it becomes painfully obvious that sex addiction is in fact very real and likely pretty rampant. I wouldn’t call it a disease but it is certainly a learned behaviour that triggers the same pleasure and comfort responses in the brain that any addiction would. Brandon needs sex in his life and he gets more than a little antsy when he doesn’t get his fix.

SHAME does not judge nor does it invite us to judge Brandon. That said, we are not asked to sympathize either. We are simply given the opportunity to observe a man in some of his weaker, more vulnerable moments. Brandon is able to manage his needs fairly well when he has routine in his life but when his sister (Carey Mulligan) comes to stay with him, he is no longer able to keep his habits in the closet. Subsequently, we are witness to them all, in all their naked and sordid glory - this is a movie about sex addiction, after all; you should expect a fair amount of sex. Fassbender is brilliant and fearless as Brandon. As he processes what he’s doing and how it is affecting those around him and his self, Fassbender carries this weight in his entire body. (And I do mean, his entire body.) With SHAME, McQueen and Fassbender prove they aren’t afraid of anything and that HUNGER wasn’t a fluke. The only real shame would be if no one saw this film.

Love means never having to say "Happy Birthday"

Today marks the 72nd Birthday of Oscar-nominee Ali MacGraw.  She's most famous for her role as Jennifer Cavalleri in the 1970 monster hit Love Story, for which she received her Oscar nomination.  At the time of the film's release, she was one of the hottest stars in Hollywood, snagging an impressive three Golden Globes in a span of four years.  Strangely, though, her star quickly faded, and now an actress that was considered the next hot thing is all but forgotten about.

She was so big in the early 70s, she had her footprints and autograph enshrined in the cement at Grauman's Chinese Theatre after only four films.  Only four films!  Then she married action superstar Steve McQueen, her priorities shifted, and she passed up huge roles in The Great Gatsby and Chinatown.  A small stint on Dynasty in the 80s reminded people she still existed, but she didn't do much work after that.

Love Story was the highest grossing film of 1970, which was (and still is) an impressive feat for a film that's primarily a...love story.  Typically action film are your year-end blockbusters, but in 1970, it was an emotional drama.  And the star of this drama was Ali MacGraw.  She was huge, and a classic Hollywood beauty.  She should be held in higher regard, but I fear that since the popularity of Love Story has faded, she has faded as well.  It doesn't help that Love Story has become a favorite target for Oscar bloggers and commentators, who often cite the film as one of the worst and most dated nominees for Best Picture.  It's not really fair though; the Oscars aren't supposed to recognize greatness in hindsight, but rather what they think is brilliant at the moment.  Her performance was guarded yet vulnerable; each time she muttered "preppy," you knew it was her way of saying "I love you."  Sure the movie was corny, but it also has a very real emotional core, which audiences in 1970 connected with.  It gave us the timeless film line "Love mean never having to say you're sorry" and it managed to make me cry like a baby.  Happy Birthday to a great actress who at least this blogger hasn't forgotten about.




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