Office Christmas Party
Another reminder that allowing your cast to madly improvise instead of actually providing a coherent script with a scintilla of inherent logic often leads to…
I was going through some old papers the other night, from cardboard boxes that were packed at the end of college and have followed me around ever since. To open them up was like walking into a time capsule. There they were, the little campus literary magazines and the yellowing issues of the Daily Illini, and a photo of a political demonstration on the steps of the student union.
On the other hand, I was going through my mail today and I got a letter from a teenager who wanted to know why they were making so many movies about the 1960s. "These are the 1980s," he informed me. "Who cares about what happened in the olden days?" I think "olden days" was an attempt at humor.
In any event, I wrote him back that the 1960s were big in the movies right now because the people who make the movies were students in the 1960s, and that the teenagers of 2001 would no doubt be sick and tired of his generation's memories of the olden days of 1983. And then I thought about "The Big Chill," a new movie in which survivors of the 1960s ask themselves how they could possibly be in their 30s.
This is the second movie on almost exactly the same theme -- a weekend reunion among college friends from the '60s, during which they relive the past, fear the present and regret the interim. They could have called it "Son of the Return of the Secaucus Seven." It's a good movie. It's well acted, the dialogue is accurately heard and the camera is extremely attentive to details of body language. It observes wonderfully well how its veterans of the 1960s have grown up into adulthood, consumerhood, parenthood, drunkenhood, adulteryhood, and regrethood. These people could all be wearing warm-up jackets with poignancy stenciled on the backs.