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Mystery Train (film)

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Mystery Train
A young Japanese couple are sitting on a dimly-lit street outside a restaurant with a neon sign. The woman is looking off camera and resting against the man, who is downcast with a cigarette in his mouth; both are wearing bright red lipstick. Superimposed above the couple is the title MYSTERY TRAIN, with credits in French at the bottom of the image.
French theatrical poster for Mystery Train
Directed byJim Jarmusch
Written byJim Jarmusch
Produced byRudd Simmons
Jim Stark
StarringYouki Kudoh
Masatoshi Nagase
Screamin' Jay Hawkins
Cinqué Lee
Nicoletta Braschi
Elizabeth Bracco
Rick Aviles
Joe Strummer
Steve Buscemi
CinematographyRobby Müller
Edited byMelody London
Music byJohn Lurie
Production
companies
Distributed byOrion Classics (USA)
Release dates
May 13, 1989 (1989-05-13) (Cannes Film Festival)
November 17, 1989 (United States)[1]
Running time
113 minutes
CountriesTemplate:FilmJapan
Template:FilmUS
LanguagesEnglish
Italian
Japanese
Budget$2,800,000[2]
Box office$1,541,218 (domestic)[1]

Mystery Train is a 1989 independent anthology film written and directed by Jim Jarmusch and set in Memphis, Tennessee. The film comprises a triptych of stories involving foreign protagonists unfolding over the course of the same night. "Far From Yokohama" features a Japanese couple (played by Yuki Kudoh and Masatoshi Nagase) on a blues pilgrimage, "A Ghost" focuses on an Italian widow (Nicoletta Braschi) stranded in the city overnight, and "Lost In Space" follows the misadventure of a newly single and unemployed Englishman (Joe Strummer) and his companions (Rick Aviles and Steve Buscemi). They are linked by a run-down flophouse overseen by a night clerk (played by Screamin' Jay Hawkins) and his dishevelled bellboy (Cinqué Lee), a scene featuring Elvis Presley's "Blue Moon",[3] and a gunshot.

The starting point for the script was the ensemble cast of friends and previous collaborators Jarmusch had conceived characters for, while the tripartite formal structure of the film was inspired by Jarmusch's study of literary forms. Cinematographer Robby Müller and musician John Lurie were among many who returned to work on the film having collaborated on earlier Jarmusch projects. The film's US$2.8 million budget (financed by Japanese conglomerate JVC) was considerable compared what the director had enjoyed before, and allowed him the freedom to rehearse many unscripted background scenes. It was the first of Jarmusch's feature films to depart from his trademark black-and-white aesthetic, though the use of color was tightly controlled to conform with the director's intuitive sense of the film's look.

Mystery Train was released theatrically in the United States by Orion Classics under a restricted rating, and grossed over $1.5million. it enjoyed critical acclaim on the film festival circuit, emulating the director's earlier films in premiering at the New York Film Festival and being shown in competition at Cannes, as well as appearing in the Edinburgh, London, Midnight Sun, Telluride, and Toronto film festivals. Jarmusch was awarded the Best Artistic Achievement Award at Cannes, and the film was nominated in six categories at the Independent Spirit Awards. Critical reaction was overwhelmingly positive, with reviewers praising the structure, humor, and characters of the film, though there were discontented rumblings that the director had not been sufficiently adventurous.

Plot

The first story, "Far From Yokohama", features a teenage couple from Yokohama, Japan—Mitsuko (Yuki Kudoh) and Jun (Masatoshi Nagase)—making a pilgrimage to Memphis, Tennessee during a trip across America. Mitsuko is obsessed with Elvis Presley, even proclaiming him to be the basis for Madonna and the Statue of Liberty. The narrative follows the couple from the train station through downtown Memphis, an exhaustive trip to Sun Records and their checking-in to the Arcade, a run-down hotel where each scantily-furnished room is adorned with a portrait of Elvis and presided over by the night clerk (Screamin' Jay Hawkins) and bellboy (Cinqué Lee).

The second story, "A Ghost", follows a stop-over with an Italian widow, Luisa (Nicoletta Braschi), escorting her husband's coffin back to Italy. Stuck in Memphis for the night (after being conned twice and stuck with armfuls of magazines), she is forced to share a room at the hotel with Dee Dee (Elizabeth Bracco), a young woman who talks constantly. When Dee Dee finally goes to sleep, Luisa still doesn't get any sleep, due to a visit from an apparition of Memphis' most famous export—Elvis Presley.

In the final story, "Lost In Space", Dee Dee's husband, Johnny (Joe Strummer) is introduced. Having gotten drunk after losing his job, Johnny—known, much to his chagrin, as Elvis—drives around the city along with his friend Will Robinson (Rick Aviles) and brother-in-law Charlie (Steve Buscemi). When they stop at a liqour store, Johnny brandishes a gun and attempts to rob it, severely wounding the owner in the process. The trio retire to the hotel to hide out for the night, which Johnny spends getting further drunk. There, Charlie realizes that Will shares the same name as the character Will Robinson from the television show Lost in Space, which Johnny has never heard of. Charlie and Will proceed to tell him about the show, which Will says that's how he feels now with Charlie and Johnny; lost in space. The next morning Charlie discovers that Johnny isn't really his brother-in-law, which angers him because of what they've been through. Johnny then tries to shoot himself, and while struggling to stop him, Charlie is shot in the leg. Leaving the hotel, the three escape a police car that isn't even looking for them. The closing credits show the train and the airport and the final views of the characters from the first two stories.

Production

Script and casting

Jarmusch wrote the script for the film under the working title "One Night in Memphis",[4] without ever having been to the southern city.[5] The idea for first segment – "Far From Yokohama" – Jarmusch took from a one-act play he was writing before he filmed Down By Law (1986).[6] The play concerned a constantly argumentative young couple, one of whom gradually comes to realise that their fighting is a unifying force in the relationship, and was unrelated to Elvis or Memphis.[7][6] The interconnected stories were inspired by Jarmusch's dwelling on literary forms, and specifically the work of Chaucer,[8] Italian episodic films and Japanese ghost story cinema.[9][10] As with his other films though, Jarmusch's starting point for writing Mystery Train was the actors and characters he had foremost in mind, the great number of whom contributed to it being "the most complicated film to write and execute" according to the director.[11]

What I like about the Japanese kids in Memphis is, if you think about tourists visiting Italy, the way the Romantic poets went to Italy to visit the remnants of a past culture, and then if you imagine America in the future, when people from the East or wherever visit our culture after the decline of the American empire—which is certainly in progress—all they'll really have to visit will be the homes of rock'n'roll stars and movie stars. That's all our culture ultimately represents. So going to Memphis is a kind of pilgrimage to the birthplace of a certain part of our culture.

— Jim Jarmusch.[6]

The role of Johnny was conceived by Jarmusch specifically for Joe Strummer, who had been the frontman of The Clash, the director's favorite 1980s rock band.[11][12] Jarmusch had conceived the part a few years previously while the two were together in Spain,[13] and although the musician had been in a period of depression at the time following the collapse of the band, he was drawn by the Memphis setting of the film.[12] Unlike the jovial Steve Buscemi, Strummer did not stay on set to joke with the veteran actors between shots, but instead preferred to keep his own company, focusing intensively on orienting himself to the role.[12]

Blues singer Screamin' Jay Hawkins Jarmusch had met after featuring his music prominently in his breakout feature film debut Stranger Than Paradise (1984), and though reticent about acting, responded favorably to the director's offer to appear.[11] The part of Luisa was also written by the director with the star – actress Nicoletta Braschi – in mind; the two had previously collaborated on Down by Law (1986), and Jarmusch sent her the screenplay in May 1988.[14] Cinqué Lee is the younger brother of director Spike Lee, a longtime friend of Jarmusch from their days at New York University's film school, while Youki Kudoh was cast after the director saw her performance in Sōgo Ishii's The Crazy Family (1984) while promoting Down by Law in Japan.[11][13] Repeat Jarmusch collaborators who worked on the film included John Lurie who provided the original music, cinematographer Robby Müller,[15] and singer Tom Waits, who in a voice appearance reprised his role of radio DJ Lee Baby Sims from Jarmusch's Down by Law. Other cameos include Jarmusch's long-time girlfriend Sara Driver as an airport clerk Rufus Thomas as the man in the train station who greets the Japanese couple,[13] Rockets Redglare as the clerk of the liquor store, Vondie Curtis-Hall as Ed, Sy Richardson as the news vendor, and Richard Boes and Tom Noonan as diner patrons.[1]

Filming

Mystery Train was filmed in Memphis in the Summer of 1988.[16] Jarmusch drove around the city without direction during a snowstorm before arriving at the intersection of a disused train station, the Arcade Luncheonette diner, and the dilapidated Arcade Hotel that would become the film's core setting.[13][5] He would later recount of the experience in a March 1990 interview in Spin: "Man, ... this crossroad is filled with so many ghosts. You know Robert Johnson walked down that street, you know Muddy Waters was in that train station."[13] The locale of the intersection was one of the film's primary formal elements, with the effect of Jarmusch returning to the setting with different characters under different circumstances being one of variations on a theme.[17]

A middle-aged black man in a bright red suit sits at a dark brown desk against a backdrop of a wall painted in various dull shades of blue. His bejeweled hands are folded, and he is frowning with eyes focused off-camera to his left.
Jarmusch chose a cool palette for the film, accentuated with an occasional jolt of red as shown here by the suit of the Night Clerk (Screamin' Jay Hawkins) contrasted with the muted background of the hotel lobby.[3]

The film retained the languid pacing of the director's previous features,[18] but was shot in bright, primary colors rather than the black-and-white of its precedents.[19][20][21] Jarmusch characterized the choice as "intuitive".[5] He deliberately chose a cool color palette, eschewing yellows and oranges and using sporadic dashes of red (as in the Japanese couple's ubiquitous suitcase).[7] This motif of flashes of red was later described by Suzanne Scott of Reverse Shot as "giving the impression of a failed attempt to grab a bit of Elvis’s glamour and try it on for size, only to inevitably discover that it looks cartoonish out of context".[3] Stills from the film as well as on-location shots of the actors and the film crew by photographer Masayoshi Sukita were published to accompany the film as the photo collection Mystery Train: A Film by Jim Jarmusch.[16]

It was the first American independent film financed by Japanese conglomerate JVC, and was produced on a budget – $2.8 million – that was considerable by Jarmusch's modest standards.[22][2][7] The substantial budget and time available gave Jarmusch the opportunity to rehearse with the actors many scenes that did not feature in the script, including several from the courtship of Mitsuko and Jun.[11] At a Memphis nightclub with the Japanese actors during production, the director had Masatoshi Nagase, who spoke little English but was an accomplished mimic, try chat-up lines on the female clientele as an acting exercise.[13] Jarmusch took advantage of the production to make the second installment of his Coffee and Cigarettes series, a collection of short vignettes featuring acquaintances of the director sitting about drinking coffee and smoking cigarettes.[23] The "Memphis Version", titled Twins, starred bickering twins Cinqué and Joie Lee alongside Steve Buscemi as a waiter who expounds his theory of Elvis having an evil twin to a hostile reception.[24]

Release

[Mystery Train] is a meditation on nighttime and transience, on rhythm-and-blues and the city of Memphis, that comes camouflaged as a deck of three stories. Like its predecessors, it mixes high and low comedy, sadness and high jinks, and extracts a subtle, limpid beauty from the rawest of materials

— Luc Sante, Interview, November 1989.[6]

The film had its domestic premiere at the 27th New York Film Festival in 1989,[25] thereby emulating the director's previous features Stranger Than Paradise in 1984, and Down by Law in 1986.[26] The Miami Herald declared it the "quiet triumph" of the festival.[27] The film was picked up for theatrical distribution by Orion Classics in the United States, where it was released under a R-rating (according to which filmgoers under the age of seventeen required an accompanying parent or adult guardian to view it in theaters) due to scenes featuring brief nudity and mild profanity.[28][29] Its total domestic gross was $1,541,218, making it the 153th highest-grossing film of 1989, and the 70th highest R-rated film of the year.[28] Internationally, it was first shown in competition at the 1989 Cannes Film Festival on May 13 and 14, 1989,[26] and subsequently featured in the Edinburgh, London, Midnight Sun, Telluride and Toronto film festivals.[1][30] The film was released on DVD on March 28, 2000 with an aspect ratio of 1.85:1 and Dolby Digital 5.1/2 surround sound.[31] The DVD release was criticized by Anna Lazowski of allmovie who awarded it two stars out of five compared to four for the film itself, citing the paltry special features of 24 scene selections and a collectible behind-the-scenes booklet.[31] It was announced in December 2009 that the film had been selected for inclusion in The Criterion Collection, with a special edition DVD due for release in Summer 2009.[32]

Critical reception

Mystery Train like Jarmusch's previous films was critically well-received, particularly after its showing at Cannes, where it was nominated for the Palme d'Or and Jarmusch was commended for the festival's Best Artistic Achievement.[33][34][30] It was nominated in six categories at the 1989 Independent Spirit Awards – Best Picture, Best Screenplay (Jim Jarmusch), Best Director (Jim Jarmusch), Best Cinematography (Robby Müller), Best Actress (Youki Kudoh), and Best Supporting Actor (Steve Buscemi and Screamin' Jay Hawkins).[30] Review aggregator site Rotten Tomatoes assigned it an 80% "fresh" rating, based on twenty critical reviews.[35]

Entertainment Weekly reviewer Ira Robbins gave the film a B+ rating, complimenting it as "conceptually ambitious" and concluding that its "offbeat characters, fine cinematography, and novel structure make for entertaining viewing".[36] Robert Fulford of The National Post hailed it as "eccentric and deliriously funny",[37] with Rolling Stone's Phil Whitman commenting that the director's "bracing, original comedy may be mostly smoke and air, but it's not insubstantial".[19] In The New York Times, Vincent Canby called it "thoroughly fascinating, a delight" and the director's best effort to date, citing its retention of the "same kind of dour, discordant charm" exhibited by Stranger Than Paradise.[20] He praised both Jarmusch's development as a screenwriter—citing the restrained dialogue, humor and subtlety of the narrative and the careful construction of the plot—and the performances he elicited from the ensemble cast.[38][20] John Hartl, in The Seattle Times, also drew a comparison with Stranger Than Paradise, judging Mystery Train to be the more accessible work while retaining the dry wit of its predecessor.[29]

Hal Hinson of The Washington Post was unimpressed with the film, calling it Jarmusch's "least engaging, and the first in which his bohemian posturing actually becomes an irritant".[39] Of the film's characters, critic Jonathan Rosenbaum of the Chicago Reader wrote that some were "beautifully imagined and realized, while others seem drawn from a more familiar stockpile, designed for reuse rather than discovery".[17] David Denby, concluding a mixed review of the film for New York Magazine, mused that "one feels Jarmusch has pushed hipsterism and cool about as far as they can go, and that isn't nearly far enough."[40] This reproach was echoed by other reviewers who found that the film did not stray far stylistically from the director's earlier work – a critical backlash that would amplify following the release of Night On Earth (1991).[41][26]

Postmodern cultural critic bell hooks cited the interaction in the Memphis train station between Thomas and the Japanese couple as one of the few examples of the challenging and subversion of blackness in American film.[42] The Chicago Sun-Times' Roger Ebert proclaimed that "[t]he best thing about Mystery Train is that it takes you to an America you feel you ought to be able to find for yourself, if you only knew where to look."[43] In an April 2000 retrospective of Jarmusch's work for Sight & Sound, Shawn Levy concluded that the film was "as much a valentine to the allure of the American way of pop culture as it is a cheeky bit of structural legerdemain without terribly much resonating significance".[44]

Footnotes

  1. ^ a b c d e "Mystery Train – 1989 – Masatoshi Nagase, Jim Jarmusch – Variety Profiles". Variety.com. Reed Business Information. Retrieved November 14, 2009.
  2. ^ a b Arrington, Carl Wayne (March 22, 1990). "Film's Avant-Guardian". Rolling Stone. Retrieved November 14, 2009.
  3. ^ a b c Scott, Suzanne. "The King and I". Jim Jarmusch Symposium. Reverse Shot Online. Retrieved November 14, 2009.
  4. ^ Hertzberg, Ludvig. ""One Night in Memphis"". The Jim Jarmusch Resource Page. Retrieved September 30, 2009.
  5. ^ a b c Rea, Steven (December 24, 1989). "The filming luck of Jim Jarmusch". The Philadelphia Inquirer. Retrieved October 3, 2009.
  6. ^ a b c d Sante, Luc (1989). "Mystery Man". Interview. {{cite journal}}: Unknown parameter |month= ignored (help) Reprinted with permission in Hertzberg 2001, pp. 87
  7. ^ a b c McGuigan, Catherine (1990). "Shot by Shot: Mystery Train". Premiere. 3 (5): 80–83. {{cite journal}}: Unknown parameter |month= ignored (help); Unknown parameter |separator= ignored (help) Reprinted with permission in Hertzberg, Ludvig (2001). Jim Jarmusch: Interviews. Jackson: University Press of Mississippi. pp. 99–104. ISBN 1578063795. OCLC 46319700. {{cite book}}: Invalid |ref=harv (help)
  8. ^ Schaber, Bennet (1991). "Modernity and the Vernacular". Surfaces: 16–18. {{cite journal}}: Unknown parameter |voume= ignored (help)
  9. ^ "Jim Jarmusch - part two". guardian.co.uk. November 15, 1999. Retrieved May 12, 2009.
  10. ^ Jarmusch, Jim (1989). Mystery Train (Media notes). Milan Records. {{cite AV media notes}}: Unknown parameter |notestitle= ignored (help)
  11. ^ a b c d e Wilmington, Michael (February 27, 1990). "Director Puts Much Value on Tough-Sell Reputation Movies". The Los Angeles Times. Tribune Company. Retrieved November 14, 2009.
  12. ^ a b c Salewicz, Chris (2007). Redemption Song: The Ballad of Joe Strummer. London: Faber and Faber. p. 433. ISBN 057121178X. OCLC 76794852.
  13. ^ a b c d e f Cohen, Scott (1990). "Strangers in Paradise". Spin. Spin Media. Retrieved December 27, 2009. {{cite journal}}: Unknown parameter |month= ignored (help)
  14. ^ Van Gelder, Lawrence (December 1, 1989). "At the Movies". The New York Times. The New York Times Company. Retrieved October 3, 2009.
  15. ^ "Festival de Cannes: Mystery Train". festival-cannes.com. Retrieved September 18, 2009.
  16. ^ a b Jarmusch, Jim (1989). "Foreword". In Masayoshi Sukita (ed.). Mystery Train: A Film by Jim Jarmusch. Shin Yamamoto. ISBN 4893890166. Mystery Train was filmed in Memphis, Tennessee during the (very hot) summer of 1988. This book is intended as a kind of souvenir of the film (like a home movie, or a photo album) for anyone who might be interested. It contains images from the film, as well as on-location photos of the cast and crew. {{cite book}}: Unknown parameter |separator= ignored (help)
  17. ^ a b Rosenbaum, Jonathan (February 9, 1990). "Strangers in Elvisland". Chicago Reader. Retrieved November 14, 2009.
  18. ^ Kennedy, Mark (March 19, 2000). "Jim Jarmusch refuses to go along". The Columbian. Associated Press.
  19. ^ a b Whitman, Phil (December 8, 2000). "Mystery Train". Rolling Stone. Jann Wenner. Retrieved October 3, 2009.
  20. ^ a b c Canby, Vincent (May 21, 1989). "Mystery Train (1989)". The New York Times. The New York Times Company. Retrieved November 14, 2009.
  21. ^ Plasketes, George (1997). Images of Elvis Presley in American culture: 1977–1997: the mystery terrain. New York: Haworth Press. ISBN 1560249102. OCLC 243870174.
  22. ^ Canby, Vincent (May 27, 1989). "Critic's Notebook; For the Cannes Winner, Untarnished Celebrity". The New York Times. The New York Times Company. Retrieved November 14, 2009.
  23. ^ Tobias, Scott (May 19, 2004). "Interview: Jim Jarmusch". The A.V. Club. The Onion. Retrieved December 28, 2009. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  24. ^ Suárez, Juan Antonio (2007). "Are You Trying to Tell Me the Drumming in My Records Sucks? Coffee and Cigarettes". Jim Jarmusch. Urbana: University of Illinois Press. p. 88. ISBN 0252074432. OCLC 71275566.
  25. ^ "The New York Film Festival: Archive". Film Society of Lincoln Center. Retrieved November 14, 2009.
  26. ^ a b c Tasker, Yvonne (2002). "Stranger than Fiction: The rise and fall of Jim Jarmusch". Fifty Contemporary Filmmakers. Routledge Key Guides. New York: Routledge. pp. 177–178. ISBN 0415189748. OCLC 47764371.
  27. ^ "New York festival turns movie town into movie heaven". Miami Herald. October 8, 1989. The quiet triumph of this festival is Jarmusch's Mystery Train...
  28. ^ a b "Mystery Train (1989)". Box Office Mojo. Internet Movie Database. Retrieved November 14, 2009.
  29. ^ a b Hartl, John (January 26, 1990). "Mystery Train – Jarmusch's Film Exposes Pop-Culture Excesses". The Seattle Times. Seattle Times Company. Retrieved November 15, 2009.
  30. ^ a b c "Mystery Train > Awards – AllMovie". allmovie.com. All Media Guide. Retrieved December 28, 2009.
  31. ^ a b Lazowski, Anna. "Mystery Train > Overview – AllMovie". allmovie.com. All Media Guide. Retrieved December 28, 2009.
  32. ^ "Ask Jim Jarmusch". Criterion.com. The Criterion Collection. December 22, 2009. Retrieved December 28, 2009.
  33. ^ Jacobson, Harlan (May 19, 2005). "Another American movie is in full bloom in Cannes". USAToday. Gannett Company. Retrieved October 3, 2009.
  34. ^ Canby, Vincent (November 12, 1989). "The Giddy Minimalism Of Jim Jarmusch". The New York Times. The New York Times Company. Retrieved October 17, 2009.
  35. ^ "Mystery Train Movie Reviews, Pictures". Rotten Tomatoes. Retrieved October 2, 2009. {{cite web}}: Text "publisher-IGN" ignored (help)
  36. ^ Robbins, Ira. "Mystery Train (1990)". Entertainment Weekly. Retrieved October 3, 2009.
  37. ^ Fulford, Robert (April 4, 2000). "Robert Fulford's column about Jim Jarmusch". The National Post. Retrieved November 9, 2009.
  38. ^ Canby, Vincent (September 29, 1989). "Film Festival; A Blissful 'Mystery Train' From Jim Jarmusch". The New York Times. The New York Times Company. Retrieved October 3, 2009.
  39. ^ Hinson, Hal (February 02, 1990). "Mystery Train (R)". The Washington Post. The Washington Post Company. Retrieved September 27, 2009. {{cite news}}: Check date values in: |date= (help)
  40. ^ Denby, David (November 20, 1989). "The Memphis Blues Again". New York Magazine: 120–122. Retrieved November 17, 2009. Mystery Train is a blues movie without the suffering and pleasure that make the blues emotionally overwhelming. Seeing it, one feels Jarmusch has pushed hipsterism and cool about as far as they can go, and that isn't nearly far enough.
  41. ^ Crow, Jonathan. "Jim Jarmusch > Biography". allmovie.com. All Media Guide. Retrieved October 1, 2009.
  42. ^ bell hooks (1996). Reel to Real: Race, Sex, and Class at the Movies. New York: Routledge. p. 99. ISBN 0415918235. OCLC 35229108. There are so few images of blackness that attempt in any way to be subversive that when I see one like this [Woody Allen's The Purple Rose of Cairo], I imagine all the myriad ways conventional representations of black people could be disrupted by experimentation. I am equally moved by that moment in Jim Jarmusch's Mystery Train when the young Japanese couple arrive in the train station in Memphis only to encounter what appears to be a homeless black man, a drifter, but who turns to them and speaks in Japanese. The interaction takes only a moment, but it deconstructs and expresses so much. It reminds us that appearances are deceiving. It made me think about black men as travelers, about black men who fight in armies around the world. This filmic moment challenges our perceptions of blackness by engaging in a process of defamiliarization (the taking of a familiar image and depicting it in such a way that we look at it and see it differently). Way before Tarantino was dabbling in "cool" images of blackness, Jarmusch had shown in Down by Law and other work that it was possible for a white-guy filmmaker to do progressive work around race and representation.
  43. ^ Ebert, Roger (January 26, 1990). "Mystery Train". Chicago Sun-Times. Retrieved November 14, 2009.
  44. ^ Levy, Shawn (2000). "Postcards from Mars". Sight & Sound. 10 (4): 22–24. Like Stranger, Mystery Train begins and ends with images of locomotion -- quite literally in this case, as trains are the chief means of transportation. And it's as much a valentine to the allure of the American way of pop culture as it is a cheeky bit of structural legerdemain without terribly much resonating significance. (It, too, went over big at Cannes.) {{cite journal}}: Unknown parameter |month= ignored (help)

External links

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