One of the things I’m always thinking about is James Bond, mostly the movies, though sometimes I’ll compare and contrast the novels from the films and, on occasion, I’ll have a think on Ian Fleming. As GAME OF THRONES‘ fourth season was approaching a few weeks ago, that program was also stewing around my brain pot and, while waiting in line to see a 35mm print of Stanley Kubrick’s BARRY LYNDON, I started cross-referencing actors in my mind.
The cast of GoT is mostly young so there isn’t much overlap that I could think of while idling on the sidewalk. Sean Bean is the most memorable of the three I came up with (also Diana Rigg & Charles Dance) and I got to ruminating on how he was a hero-protagonist in GoT but he was a really great villain in GOLDENEYE, one of my favorites, in fact.
Having already spent copious amounts of time thinking about both Sean Bean and the best of the Brosnan Bonds, I started ranking the other recent villains, wondering who I’d put behind Bean’s Alec Trevelyan.
This is where I need to cut in on my own story to remind you, dear reader, that I was minding my own damn business, standing on a side street in Paris on a Monday afternoon, just thinking about Bond villains as I’m wont to do, when this guy stepped right in front of me and stopped less than two feet from my face.
This guy is Mathieu Amalric. He’s a big-time French actor. He also happened to be the villain in QUANTUM OF SOLACE, the least-good of the Craig Bonds (through no fault of his own).
Amalric had just come out of the cinema I was going to enter and was enjoying the patch of sun that I’d strategically placed myself in. It was a really good spot and he stayed there for maybe half a minute during which time it’s possible I wasn’t breathing because I felt like my brain had summoned him from the ether, Stay Puft Marshmallow Man-style.
Again, I feel I need to mention that I was in line at a revival movie house to see a 35mm print of a 40-year old movie in Paris with a bunch of people who were interested enough in movies to seek out such a screening and spend a lovely sunny afternoon watching it instead of being outside…
… and no one reacted to seeing a really famous French actor right in front of them. This is a guy with two César Awards (French Oscars) and NO ONE WAS REACTING. I spun my head around, trying to catch someone’s eye to verify that Mathieu Amalric was rightthere, but no one was paying attention. And it wasn’t even the New York kind of not paying attention where everyone is pretending not to notice the famous person but there’s still a frisson in the air of people looking / not-looking. No, this was a genuine French moment of people just not looking because they were all too involved in what they were doing to notice a Bond villain right in front of my face.
I blinked a bunch of times and breathed in and out and I can tell you for certain that he was definitely there (the appearance of an effortlessly beautiful woman by his side moments later clinched it) and that I’m pretty sure I made it happen by sheer force of will.
What’s this whole story have to do with today’s Great Word? Well, cogombre is Catalan for “cucumber” and, as I made my way into the theater, all I could think to myself was, “Man, these French are as cool as cogombres.”
“Cool as a cucumber” is an expression that means untroubled, calm, relaxed.
About BARRY LYNDON
It was one of the few Kubrick films I’d never seen because the most noteworthy thing about it was how it was supposed to be screened. The persnickety director famously wrote a letter to projectionists about how, exactly, it was meant to be shown.
The film is set in the 18th century and the indoor scenes were filmed without electric light. To be clear, Kubrick and DP John Alcott shot the movie mostly with candles using film stock developed by NASA, as it worked best in low light. You know, like you’d find IN SPACE.
As for the movie itself, it’s not going to join a list of my favorites. Ryan O’Neal plays an Irishman (poorly) and the plot follows the same beats as other picaresque tales like Candide or Tristam Shandy. But it sure was beautiful to look at.
This is the funniest thing I’ve seen in a long time but it’s not for everyone. My mother, for instance, will have zero concept of what this is, what it depicts, to whom it’s referring or why it’s funny.