We need more directors willing to take risks with films like Get Out.
Sitting in the dark, watching Paul Newman's performance in "Nobody's Fool," I jotted down the word "humility." It seemed to be the word that fit best. He is onscreen in virtually every scene of the movie, playing a 60-year-old man named Sully who has spent most of his life drinking beer and avoiding responsibility and who now is thrown into daily contact with a son who doesn't trust him and a grandson who doesn't know him. Sully decides to change - or has change thrust upon him, which amounts to about the same thing.
I have been watching Paul Newman in movies all of my life. He is so much a part of the landscape of modern American film that sometimes he is almost invisible: He does what he does with simplicity, grace and a minimum of fuss, and so I wonder if people even realize what a fine actor he is. We remember the characters instead: Fast Eddie Felson, Hud, Butch Cassidy, the alcoholic lawyer in "The Verdict". . .
In "Nobody's Fool," Newman plays another heavy drinker, the kind of feckless free spirit you occasionally meet: A man who has never grown up, who despite his carefree disregard for the ordinary requirements of society, remains somehow so charming and innocent that people forgive him his sins. He has found an economic niche that supports his lifestyle. He does construction work for a local builder. He rents a room upstairs in the house of his eighth grade teacher.
Of course freedom has a price. He has long ago departed from his marriage, and his son has grown up almost a stranger to him. His "family," such as it is, consists of the regulars in a neighborhood bar: An old lawyer, a barmaid, a co-worker who is mentally retarded.