Introduction

What is The New Yorker? I know it’s a great magazine and that it’s a tremendous source of pleasure in my life. But what exactly is it? This blog’s premise is that The New Yorker is a work of art, as worthy of comment and analysis as, say, Keats’s “Ode on a Grecian Urn.” Each week I review one or more aspects of the magazine’s latest issue. I suppose it’s possible to describe and analyze an entire issue, but I prefer to keep my reviews brief, and so I usually focus on just one or two pieces, to explore in each the signature style of its author. A piece by Nick Paumgarten is not like a piece by Jill Lepore, and neither is like a piece by Ian Frazier. One could not mistake Collins for Seabrook, or Bilger for Galchen, or Mogelson for Kolbert. Each has found a style, and it is that style that I respond to as I read, and want to understand and describe.

Thursday, February 27, 2025

Postscript: Gene Hackman 1930 - 2025

Gene Hackman, in The French Connection

I see in the Times that Gene Hackman has died. He was 95. He’s one of my favorite actors. He appeared in at least three cinematic classics – Bonnie and Clyde (1967), The French Connection (1971), and Unforgiven (1992). I first saw him in Arthur Penn's Bonnie and Clyde, in which he played Clyde’s older brother Buck. It was only a supporting role, but Hackman was superb. Reviewing the movie, Pauline Kael said his performance was “beautifully controlled,” “the best in the movie.” Then four years later, he played the lowlife police detective Jimmy “Popeye” Doyle in William Friedkin’s The French Connection, for which he won an Academy Award for Best Actor. But perhaps his greatest role was as the sheriff Little Bill Daggett in Clint Eastwood’s magnificent Unforgiven for which he won another Academy Award – this time for Best Supporting Actor. What I loved about Hackman’s acting is its naturalness. He seemed not just to play his roles, but to live them.   

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