SOMEWHERE IN TRANSLATION:
the twilit and allegorical film art
of Sofia Coppola
by Gary W. Wright
Like most film artists who emerged after the fatal helicopter crash that killed actor/director/writer Vic Morrow and child extras Renee Chen and Myca Le around 2:20 am in the early morning of July 23, 1982 on the George Folsey jr. produced Vietnamese village set of the John Landis episode of the Kathleen Kennedy and Frank Marshall produced Landis, Joe Dante, George Miller and Steven Spielberg film, TWILIGHT ZONE: THE MOVIE (1983), Sofia Carmina Coppola and her film art have been greatly influenced by the TZ disaster. However, unlike other post-TZ disaster film artists, Coppola did not embrace computer generated imagery (CGI) in her film art in order to prevent fatalities on her film sets, sticking instead to the documentary fused with feature film ‘docufeature’ style championed by her father and the rest of New Hollywood. Coppola was also the daughter of influential New Hollywood film artists Francis and Eleanor Coppola, granddaughter of composer Carmine Coppola-who inspired her middle name-and ‘niece’ of honourary ‘Uncle’ George Lucas, a link to ‘Uncle’ Lucas helped by the curious fact that they were both born on May 14th. In addition, long before she became a film artist, the use of the newborn Coppola as the latest addition to the Corleone clan at the end of the allegorical Coppola film, MARIO PUZO’S THE GODFATHER (1972), literally made her the symbol of the arrival of the New Hollywood era.
Curiously, Coppola was also linked to the start of the Zone Wars and the TZ disaster itself. Indeed, she appeared as a girl and as Donna, respectively, both roles under the name of Domino-which was a loose Venetian cloak with a small mask that covered the upper part of the face-perhaps in an effort to distance herself from her father in the allegorical Coppola films, THE OUTSIDERS (1983) and RUMBLE FISH (1983), both released the same year as TWILIGHT ZONE: THE MOVIE. Coppola also appeared as an unnamed girl character who was gunned down by mobsters working for the aspiring, homicidal and implicitly Landis linked hood, Vincent Dwyer-his ‘VD’ initials summing up his sick disease, and played by her cousin, Nicolas Cage-in the implicitly Landis and Spielberg bashing allegorical Coppola film, THE COTTON CLUB (1984).
In another departure from other film artists, Coppola also made her first work of film art in collaboration with her father as co-writer and credits/costume designer of the twilit, CGI free and allegorical film, LIFE WITHOUT ZOE, the middle cinepanel of a triptych of short films that began with a cinepanel by Martin Scorsese and ended with a cinepanel by Woody Allen that was collectively entitled, NEW YORK STORIES (1989). Significantly, despite being directed by her father, Coppola implicitly had an influence on its direction, as the short film was a significant stylistic departure from the work of her father, both before and after the film, with an unusually assertively feminine mindset, style and gaze and an emphasis on art, colour, dance, fashion and pop music, characteristics that were unusual for Coppola sr. but would become the hallmarks of the film art of Coppola. The implicit influence of Coppola was fitting, as the short peek into the exuberant, hectored and solitary life of Zoe Montez-played by Heather McComb-in her room at the Sherry Netherlands Hotel in New York as the daughter of celebrated flautist, Claudio Montez, and author/photographer, Charlotte-played by Giancarlo Giannini and Coppola’s aunt Talia Shire, respectively-appeared to be an autobiographical look into the life of Coppola as a girl. Thus, it was appropriate that Zoe and Sofia both had Greek names-the former meaning ‘life’, and the latter meaning ‘wisdom’. Cowie agreed, noting in Coppola: a biography that ‘…Francis’s seventeen-year old daughter Sofia assumed much of the creative responsibility on this sketch…Zoe, like Sofia Coppola in real life, must cope with the confusing burden of wealth as well as a famous father…(and Sofia) shows that she is already alert to the dangers and potential of having a famous artist for a father’. 1
In addition, Zoe’s love of helping others and her success in bringing life and harmony back to the universe after finding one of the fabled Tears of Sharaz earrings and returning it to its rightful owner, Princess Soroya-played by Carole Bouquet-with the help of her new friend, Abu-played by Selim Tlilli-and saving the marriage of Claudio and Charlotte implied the hope of Coppola that she could return harmony back to film art and the Temple Theatre by freeing it from the TZ disaster. Michael Moorcock hopefully agreed, implicitly linking Coppola to Varadia, the Holy Girl, daughter of the implicitly Coppola sr. linked Raik Na Seem in the allegorical Zonebusting novel, The Fortress Of The Pearl (1989). Alas for father and daughter, however, that implicit hope was not to be, as audiences disliked NEW YORK STORIES, particularly LIFE WITHOUT ZOE, despite Zoe’s earnest concern for others. No doubt many audience members-particularly younger members of Gen X-were offended by Zoe’s wealthy and carefree existence at a time of few and mostly low paying jobs. Thus, it was no surprise that Coppola soon became the symbol of the end of the New Hollywood era in general and of her father’s indie American Zoetrope dreams in particular with the death of her character Mary Corleone at the end of her father’s allegorical film, MARIO PUZO’S THE GODFATHER: PART III (1990).
However, despite being symbolically linked to the death of American Zoetrope and New Hollywood film art and the outbreak of the dread allegorical Zone Wars, the allegorical arts of film, music and writing flowed naturally from Sofia Coppola. Indeed, her film art displayed an intuitive understanding of the creative interrelation of acting, film, music and words-and a seasoned sophistication and world weariness unusual in someone so young, but definitely befitting a daughter who grew up in the first family of New Hollywood. The film art of Coppola also implied that she was so moved and sobered by the rise and fall of New Hollywood and by the TZ disaster that she had no interest in taking over the system like her father, but was instead satisfied with being an indie outsider who would still be a part of the greater cinematic conversation.
Last but not least, the film art of Coppola also displayed a brash, distinctive, rebellious and refreshingly feminine and feminist body, gaze, heart, mind and soul that satirized and served as an effective counterpoint to the predominantly male body, gaze, heart, mind and soul of film art, evoking the film art of fellow actresses turned directors like Nell Shipman-who died shortly before the birth of Coppola on January 23, 1970-and Ida Lupino-particularly the latter, as she was linked to the Zone herself via her allegorical telefilm, ‘The Masks’ (1964), from the fifth season of the original TWILIGHT ZONE telefilm series. Qualities on display when she returned to the Temple Theatre with her short allegorical docufeature film, LICK THE STAR (1998).
‘the tables turn/life goes on’
Significantly, the black and white film stock of LICK THE STAR was a stark contrast to the vibrant, exuberant and colourful LIFE WITHOUT ZOE, immediately implying that Coppola was no longer as happy and as optimistic as she was in 1989. And bummed out about the dread Zone Wars, for the black and white film situated LICK THE STAR in the same Twilight Zone midway between Light and Dark that the original TWILIGHT ZONE telefilm series found itself trapped in. Significantly, the black and white film also evoked the black and white film stock of her father’s first allegorical feature film, DEMENTIA 13 (1963), as well as the twilit and implicitly Spielberg supporting allegorical Tim Burton film, FRANKENWEENIE (1984)-in which Coppola had another supporting role under the name of Domino as bimbo blonde Ann Chambers-linking Coppola’s film art to the horror genre from the outset like the film art of her father (the horror, the horror of everyday embattled and apocalyptic life)!
A fitting link, for LICK THE STAR quickly revealed an equally twilit, demented and horrific DEMENTIA 12 intent. For after initially focusing on Christina Turley’s perhaps Coppola linked Kate, the film’s voiceover (VO) narrator, as she returned on crutches to the insular, gossipy, studiously bored and increasingly self-conscious and sexually aware world of R.L.S. Junior High-the grade featured in FRANKENWEENIE-after being briefly knocked out of the game for a week with a damaged foot, the focus of the film soon shifted to Audrey Heaven’s beautiful, beguiling, exotic, mysterious, sensual, assertive, tall, commanding and Kathryn Bigelow resembling and implicitly linked Queen Mean Girl, Chloe, first seen striding from somewhere towards the camera and into the school in slow motion in a blast of punky pop music-the allegorical Amps tune, ‘Tipp City’ (1998)?
Chloe quickly revealed a demented and completely un-Zoe-like ‘lick the star’-which sort of spelled kill the rats backwards-plot to poison all the boys she and the other girls in her group did not like, like a less vengeful and telepathic Carrie White in the allegorical Stephen King novel, Carrie (1974), or Sissy Spacek’s Carrie White in the allegorical, righteously furious and implicitly Spielberg bashing Brian De Palma film, CARRIE (1976), which implicitly and furiously roasted Spielberg and his allegorical film, JAWS (1975), which had returned the money lusting blockbuster beast to the Temple Theatre. However, Chloe’s rude and bossy manner and abrasive comments caused her girl gang and Greg to turn against and ostracize her, causing her to attempt suicide by drowning herself in the family bathtub. And so LICK THE STAR ended with a pensive, philosophical and poetry writing Chloe striding away from the camera and off into nowhere, the first film art linked main character to progress from somewhere to nowhere over the course of a Coppola film. Thus, given Chloe’s link to Bigelow, Coppola implied her dislike of Bigelow and her hope that Bigelow would soon fade away-a hope that did not come true as Bigelow went on to get success in the new millennium and became the first women to win the Oscar for Best Director and Best Picture for the allegorical and implicitly David Lynch roasting film, THE HURT LOCKER (2008).
The presence of writer/director Peter Bogdanovich as the school Principal and Zoe Cassavetes as a gym teacher underlined that implication, as they openly linked the elementary school and its students to film art and film artists-and evoked the appearance of actor/director/writer Paul Bartel as the droll and ironic Grade 7 teacher Mr. Walsh in FRANKENWEENIE. Significantly, after implicitly roasting a female film artist, Coppola implicitly shifted her attention to male film artists when she returned with sound designer Richard Beggs with her first equally downbeat, canny and allegorical docufeature film, THE VIRGIN SUICIDES (1999), inspired by the allegorical Jeffrey Eugenides novel, The Virgin Suicides (1993).
‘We knew that they knew everything about us, and that we couldn’t fathom them at all’.
THE VIRGIN SUICIDES began with the ghostly and haunting sight of Kirsten Dunst’s beautiful, bewitching, mysterious and unobtainable Lux ‘Luxy’ Lisbon-a name that evoked Lex Luthor as much as the longed for and liberating flight to Lisbon in the allegorical and implicitly Jack Warner bashing and Ozian themed Michael Curtiz film, CASABLANCA (1942)-standing outside the Twilight Zone on a sunny tree lined suburban street that evoked the suburbs already seen in FRANKENWEENIE and LICK THE STAR, looking at the camera and sucking suggestively on a popsicle like a new Lolita. The swelling and haunting sound of the allegorical Air tune, ‘Playground Love’ (1999), accompanied the shot, immediately establishing the ghostly and haunted theme of the film and reaffirming how much Coppola had changed since LIFE WITHOUT ZOE. Lux soon turned to her sinister left and wandered off the right of the frame to nowhere. This somewhere to nowhere transition and her beautiful mystery recalled Chloe and her journey from somewhere to nowhere in LICK THE STAR, linking the beautiful, mysterious and distant Chloe to the equally beautiful, mysterious and distant Lux and setting us up for Luxy’s own journey from bewitching popularity to limbo over the course of THE VIRGIN SUICIDES. A journey that was implicitly linked to film, as ‘Lux’ was once a stock name for a cinema, like Bijou. This implication that THE VIRGIN SUICIDES was as obsessed with film art and film artists as LIFE WITHOUT ZOE and LICK THE STAR was reaffirmed after Lux exited stage right.
For, after a montage of shots to the continued swelling sounds of ‘Playground Love’ of sleepy, sunny and tree lined suburban streets that evoked the montage of shots of sleepy and idyllic Lumberton at the beginning of the twilit and allegorical Lynch ‘moving painting’, BLUE VELVET (1986), and of the small Pacific Northwest town of Twin Peaks at the beginning of the equally twilit and allegorical Lynch telemoving painting pilot of TWIN PEAKS (1990-91)-and the montage of shots that began such allegorical Landis films as ANIMAL HOUSE and THE BLUES BROTHERS, affirming that all three artworks were on one level addressing Landis and the TZ disaster right from the beginning-which included a quick shot of what appeared to be Coppola walking and talking down a sidewalk with another young woman who was walking a dog-the film suddenly cut from the sunlit suburban exterior to the gloomy, grim and silent interior of the main bathroom of the Lisbon home in the first of many jarring cuts from a more idyllic and musically enhanced moment in a Coppola docufeature film.
Here we discovered that Luxy’s youngest sister, Cecilia Lisbon-played by Hannah Hall-lying in the full bathtub with her blood draining out of her after slitting her wrists, evoking Chloe’s attempt to drown herself in her family’s bathtub in LICK THE STAR and bringing the horror of everyday life back to a Coppola film. While Cecilia was saved in time by paramedics, the depressed thirteen year old girl soon succeeded with her second DEMENTIA 13 attempt, leaping from her second story bedroom window and impaling herself on the gothic and medieval spikes of the black iron fence bordering the front garden below. Significantly, the 2037 number seen on the Lisbon house s her anguished father, Catholic high school teacher Ronald Lisbon-played by James Woods-cradled her horizontal body despairingly in her arms like a despairing magician holding his beautiful female assistant after a floating magic trick gone horribly wrong linked the death of Cecilia to the 237 date of the TZ disaster in ’82. The Lisbon family’s 727-8221 phone number also linked the suicide of Cecilia to the TZ disaster. This link to the twilit and disastrous year of 1982 was reaffirmed by Woods, who linked THE VIRGIN SUICIDES to 1982 and another Coppola film to Canadian film artists and their film art via his role as Max Renn in the eerily prescient, twilit and allegorical David Cronenberg film, VIDEODROME (1982). This implicit interest in Canadian film art and film artists was reaffirmed by the intrepid, Gremlin driving and Patricia Rozema evoking television News 8 reporter, Lydia Perl-played by Suki Kaiser-who investigated the Lisbon suicides throughout the film-her first name Lydia also implicitly linking her to L.A. and Hollywood.
Significantly, Cecilia’s suicide also implicitly acted as the death of a symbolic Wicked Witch of the East figure, linking the film to L. Frank Baum’s implicitly Queen Victoria bashing allegorical children of all ages classic, The Wonderful Wizard Of Oz (1900), and the implicitly Wallis Simpson bashing allegorical Victor Fleming film, THE WIZARD OF OZ (1939). This Ozian link reminded us that Lucas successfully used an Ozian structure in his implicitly Donald Shebib bashing allegorical film, AMERICAN GRAFFITI (1973), the implicitly Spielberg and Old Hollywood bashing allegorical film, STAR WARS EPISODE IV: A NEW HOPE (1977), and the CGI enhanced and implicitly Cameron and Spielberg bashing allegorical film, STAR WARS EPISODE I: THE PHANTOM MENACE (1999). However, instead of following the traditional healing cadence of THE WIZARD OF OZ or of the films of Lucas, THE VIRGIN SUICIDES continued in the depressed and disharmonious vein already seen in LICK THE STAR and surpassed that film by alluding even more to CARRIE.
Indeed, in many ways THE VIRGIN SUICIDES seemed like a remake of CARRIE, albeit this time with four unhappy and troubled Carrie evoking daughters, Lux and the three surviving Lisbon sisters-Bonaventure aka Bonnie, Mary and Therese, played by Chelse Swain, A.J. Cook and Leslie Hayman, respectively, all beautiful and bewitching Glinda blondes and as fond as art as Chloe and Zoe. Four unhappy Carries who revolted against their strict and Mrs. White evoking religious mother, Mrs. Lisbon-played by Kathleen Turner-and attended the homecoming ball, in the end. Where in CARRIE fashion Lux and the handsome, tall and confidently womanizing Trip Fontaine-played by Josh Hartnett-were crowned Queen and King of the homecoming ball by their teen peers, like Carrie and Tommy Ross-played by William Katt-at the end of CARRIE. With similarly deadly results, for soon after the ball and a late night lovemaking session on the school football field with Trip on the way home, Lux and her three sisters, depressed about being abandoned by Trip and his friends after the homecoming ball and by being totally grounded by their mother, to the point of not even being allowed to go to school, all committed suicide like Cecilia, in the unhappy end that returned the horror of everday life to the film.
Significantly, it was noticeable that the four virginal Catholic school boys-Jonathan Tucker’s Scarecrow implicitly linked Tim Weiner, Lee Kagan’s implicitly Tin Man linked David Barker, Anthony DeSimone’s implicitly Cowardly Lion linked Chase Buell, and Noah Shebib’s implicitly Great Oz linked Parkie Denton-who pined throughout the film for the four Lisbon sisters left after the suicide of Cecilia, not only evoked and resembled Lucas, Cronenberg, Scorsese and Spielberg, but were seen to never understand the Lisbon sisters. Even after the suicides of the four remaining sisters in Michigan in 1974, and looking back twenty-five years later in 1999 on their deaths-their reflections heard in VO by narrator Giovanni Ribisi-the four boys still did not understand the sisters or their suicides. Indeed, they lacked a full and deep oneness with the sisters, implying that they were all still virgins as adults, despite the loss of their virginities. This implied that Coppola thought that Cronenberg, Lucas, Scorsese and Spielberg were all still virgins, too, who had never really achieved oneness with or understanding of their film art, or been able to prevent their film art and their reputations from dying after the TZ disaster, dying like the Lisbon sisters and the elm tree in the front yard of the Lisbon home. In fact, this tragicomic ending implied that Coppola felt that the film artists of New Hollywood had brought upon their own demise by killing their film art by embracing a blockbuster ideology that led to an attempt to outdo each other and themselves with each film, leading to a reckless atmosphere that contributed to the TZ disaster.
Leaving them all nable to fly to Lisbon, one might say, unlike Ilsa Lund and Victor Laszlo-played by Ingrid Bergman and Paul Henreid, respectively-at the end of CASABLANCA, in an implicit confirmation of the importance of the Lisbon surname. Indeed, the sight of the Ozian quartet standing on the sidewalk in black tuxedoes staring uncomprehendingly across the street at the abandoned Lisbon house at the end of THE VIRGIN SUICIDES openly evoked Humphrey Bogart’s white tuxedoed Richard ‘Rick’ Blaine in CASABLANCA, preparing us for the CASABLANCA and Ozian themes of Coppola’s second feature film. The setting of the film in Michigan in 1974 at the height of the fame and fortune of New Hollywood, and the many nostalgic Seventies pop tunes on the soundtrack reaffirmed the implicit meaning of the film. The implicit link of Bonnie and Mary to Faye Dunaway’s Bonnie Parker in Arthur Penn’s film, BONNIE AND CLYDE (1967), and Susan George’s Mary in John Hough’s allegorical film, DIRTY MARY, CRAZY LARRY (1974), also affirmed the link of the Lisbon sisters to the New Hollywood film art of the 1967-82 era-and recalled the link of Zoe and her girl gang to New Hollywood filmmakers in LIFE WITHOUT ZOE. The use of Shebib as Denton also implicitly affirmed Coppola’s interest in Canadian film artists in THE VIRGIN SUICIDES, as he was the son of Canadian film artist, Donald Shebib, best known for his allegorical and implicitly Coppola sr. and Lucas roasting film, GOIN’ DOWN THE ROAD (1970). Of course, the fact that THE VIRGIN SUICIDES was mostly filmed in Toronto and featured the allegorical Sloan song, ‘Everything You’ve Done Wrong’ (1996), on the soundtrack reaffirmed Coppola’s interest in Canada, Canadian film artists and Canadian film and music art in THE VIRGIN SUICIDES.
Thus, Coppola kicked off a new millennium of film art not on a hopeful note but on a deadly and depressed note, reminding audiences that she had symbolized the death of New Hollywood film art since 1991. This was in complete contrast to her cameo that same year as Sache, a handmaiden to Natalie Portman’s Queen Padme Amidala in the more upbeat and hopeful STAR WARS EPISODE I: THE PHANTOM MENACE, which tried to free audiences, film art, film artists and the Temple Theatre from the TZ disaster and kick off a Zone free and Skyrocking new daylit era of CGI enhanced film art. Not surprisingly, despite the high quality of the THE VIRGIN SUICIDES and the fact that not only was Lucas implicitly roasted in it but that the low budget indie film was better received than the much bigger and more expensive STAR WARS EPISODE I: THE PHANTOM MENACE, some observers were implicitly disturbed by the dark and depressed spirit of THE VIRGIN SUICIDES and the mixed messages Coppola was giving by directing edgy indie films like LICK THE STAR and THE VIRGIN SUICIDE while appearing as Sache in STAR WARS EPISODE I: THE PHANTOM MENACE. For her appearance as Sache not only linked her to the massive movie tie-in merchandise campaign that accompanied that big budget film, implying that she endorsed the film’s crass consumerist campaign, but also linked her to twilit machinations that had outraged fans and damaged the reputation of Lucas since he had reached out to and worked with Kennedy, Marshall and Spielberg after the TZ disaster as executive producer of the twilit and allegorical Spielberg film, INDIANA JONES AND THE TEMPLE OF DOOM (1984).
A serious implication, for working with Kennedy, Marshall and Spielberg on INDIANA JONES AND THE TEMPLE OF DOOM convinced the young fans of Lucas that he was an insidious Sith Lord hiding in Jedi robes-Lord Stinkious!-who was not only indifferent to the still suspicious deaths of Chen, Le and Morrow in the TZ disaster but obsessed with blockbuster profits regardless of the cost in human lives. Indeed, the implication was serious enough that it implicitly caused Toronto film artist John Fawcett and company to implicitly warn Coppola to stick to the low budget indie art film path and not to get too close to Lucas and the twilit blockbuster beast lest she turn into a twilit and CGI enhanced blockbuster beast herself in their twilit and allegorical film, GINGER SNAPS (2000), a horror film no doubt inspired by the allusions to CARRIE in THE VIRGIN SUICIDES and done in the same docufeature style favoured by Coppola.
‘The beast of Bailey Downs strikes again!’
Indeed, the film’s prologue, which featured a boy-played by Stephen Taylor-with the trademark big Lucas ears playing in the sandbox of a lookalike house in the dreary, lifeless and Hollywood cadenced suburb of Toronto suburb of Bailey Downs implicitly affirmed that Fawcett was blasting Lucas and STAR WARS EPISODE I: THE PHANTOM MENACE. The grisly discovery of the shredded corpse of Baxter, the boy’s family’s dog, soon after we met the boy also implicitly affirmed Fawcett’s fear that a twilit and ravening new blockbuster beast had indeed returned to theatres with the arrival of the first film of the STAR WARS Tragic Trilogy.
The horrorshow high school photography project created by the boy’s exuberantly ghoulish and gothic neighbours, the Coppola resembling and implicitly linked Brigitte Fitzgerald and her older and implicitly Lucas linked sister, Ginger-their names evoking Brigitte Bardot and Ginger Rogers in an open confirmation of their link to film art, and played by Emily Perkins and Katharine Isabelle, respectively-that followed the gruesome prologue affirmed Fawcett’s implicit interest in Coppola. For the fake but grisly murder and suicide photographs featuring Brigitte and Ginger evoked the five different suicides of the Lisbon sisters and a photographic trip around the world they took with Barker, Buell, Denton and Weiner in THE VIRGIN SUICIDES. In addition, the attack of the blockbuster werewolf beast on the two girls soon after we met them, an attack that led to Ginge being badly mauled and then having to deal with the horror of lyncanthropy on top of the horror of adolescent life, affirmed the interest in Lucas in GINGER SNAPS.
For this opening werewolf attack and the slow transformation of Ginge into a werewolf over the course of the film evoked the werewolf attacks and transformations in the implicitly Lucas bashing allegorical Dante film, THE HOWLING (1981). In fact, Ginger’s name sounded like Jar Jar-the character who affirmed that the Farce had returned to the new STAR WARS film, and played by Ahmed Best-while her nickname ‘Ginge’ evoked George, implicitly affirming her link to Lucas and his film art. The fact that Ginger was the older sister also reaffirmed the link of Ginge to George, reminding us that Lucas was older than Coppola. The appearance of Kris Lemche’s supportive Sam after the opening attack also reiterated the film’s interest in Lucas, as he looked, talked and acted like a young version of Ford’s Han Solo. The solution of monk’s hood herb that was used to treat lycanthropy in the film reaffirmed the film’s implicit interest in Lucas and his STAR WARS films, for the monk’s hood evoked the monk hoods and robes of the JD Jedi.
Thus, the full transformation of Ginge into a werewolf and her death at the end of the film implied the fear of Fawcett that Lucas had not just unleashed a CGI enhanced blockbuster beast on the world with STAR WARS EPISODE I: THE PHANTOM MENANCE, but had lost his vital humanity and irremediably transformed into a CGI enhanced blockbuster beast. The fact that Brigitte was bitten and infected with lycanthropy by Ginge and in danger of turning into a twilit blockbuster beast as well by the end of the film also implicitly affirmed Fawcett’s fear that by appearing as Sache in STAR WARS EPISODE I: THE PHANTOM MENACE, Coppola had been infected with blockbuster disease and was also in danger of turning into a ravening and CGI enhanced blockbuster beast. The film’s other allusions to FRANKENWEENIE, LICK THE STAR, STAR WARS EPISODE IV: A NEW HOPE and THE VIRGIN SUICIDES also affirmed the implicit intent of the film. Fawcett’s choice of an allegorical horror film to make his point reinforced the intent, evoking the CARRIE and DEMENTIA 13 theme of LICK THE STAR and THE VIRGIN SUICIDES. For his part, Terry Zwigoff also implied that he was responding to Coppola in his allegorical film, GHOST WORLD (2001), based on the allegorical Daniel Clowes narrative artwork, Ghost World (1997).
‘l’m leaving town.’
For the film revolved around the creative, intelligent, disaffected, curvaceous, idiosyncratically dressing, Chloe evoking and implicitly Coppola linked teen, Enid-played by Thora Birch. Enid’s friendship with the equally disaffected and testy, Rebecca-played by Scarlett Johansson-and their film long rants-often directed against the males of the film, who were often just as hopeless and hapless as those of THE VIRGIN SUICIDES-also evoked the disaffected rants of Brigitte and Ginger in GINGER SNAPS, reaffirming the implication that Zwigoff was sending a message to Coppola. And implicitly warning her not to be so critical, cynical and dismissive of other film artists as in THE VIRGIN SUICIDES, given that Enid slowly but surely offended and turned everyone in her life against her and was last seen fading away into nowhere on a mystery bus, evoking the sight of Chloe wandering pensively off into nowhere at the end of LICK THE STAR. An implicit warning that Coppola implicitly understood, for she returned to the Temple Theatre with a more thoughtful film, remade GHOST WORLD in Tokyo with Johansson and replied to GINGER SNAPS when she teamed up again with Beggs and Coppola sr. and Fred Ross-co-producers of THE VIRGIN SUICIDES-and costume designer Nancy Steiner and traded in the Japanese fans and fantasies of THE VIRGIN SUICIDES for the real deal in her second allegorical and CASABLANCA and Ozian themed docufeature film, LOST IN TRANSLATION (2003), a film that also alluded to such documentary films mostly set in Tokyo like the allegorical Chris Marker film, SANS SOLEIL (1983) and the allegorical Wim Wenders film, NOTEBOOK ON CITIES & CLOTHES (1989).
‘Maybe she likes the movies you were making in the Seventies when you were still making movies.’
Indeed, Coppola immediately confirmed her interest in GINGER SNAPS, for a close-up of the firm, smooth, round and panty clad bottom of Scarlett Johansson’s implicitly Dorothy and Ilsa linked newlywed American tourist, Charlotte-her name also evoking Zoe’s mother, Charlotte, in LIFE WITHOUT ZOE and Brigitte in GINGER SNAPS-slowly appeared out of somewhere like Chloe and Lux at the beginning of KICK THE STAR and THE VIRGIN SUICIDES, lying horizontal on top of a Park Hyatt Tokyo hotel bed to the slowly swelling accompaniment of the allegorical Kevin Shields tune, ‘City Girl’ (2003), another wistful tune that evoked Air’s equally wistful ‘Playground Love’ that opened and closed THE VIRGIN SUICIDES. This close-up evoked the beastly and often panty clad Ginger Fitzgerald in GINGER SNAPS, implicitly affirming that Coppola was replying to GINGER SNAPS in LOST IN TRANSLATION. Humourously, this prologue also implied that Coppola was indignantly saying ‘…kiss my ass!’ to Fawcett and company. For the words LOST IN TRANSLATION were soon slowly superimposed one by one over the supine bum of Charlotte in a definite ‘kiss my ass’ cadence. Then Charlotte faded off into nowhere like Lux in that first shot of THE VIRGIN SUICIDES.
Curiously, the rumpled, tragicomic and implicitly Great Oz and Blaine linked aging American action film star, Robert ‘Bob’ Harris-played by Bill Murray, who linked another Coppola film to 1982 via his role as the implicitly Irving Forbush linked Jeff Slater in the allegorical Sydney Pollack film, TOOTSIE (1982)-suddenly appeared from somewhere out of the black screen that Charlotte had faded into, implicitly linking him to Charlotte. Harris was slumped over asleep in the back of a taxi being driven through the neon lit night to the Park Hyatt Tokyo down a crowded main street of the Emerald City of Tokyo that evoked the equally brightly lit and crowded nightscape of Yonge and Dundas in Toronto-complete with an HMV sign and a huge neon sign that evoked the once famous Sam the Record Man store sign that could still be seen in GOIN’ DOWN THE ROAD. This immediately and silently implied that in her latest film, Tokyo symbolized Toronto, a city that Coppola got to know while making THE VIRGIN SUICIDES.
Indeed, Tokyo cityscape shots-which included shots of CN Tower and Canadian Life-like buildings-and subway shots that evoked the cityscape and subway of Toronto were seen throughout the film. A Toronto International Film Festival(TIFF)-style film premiere press conference for the spoof allegorical film, MIDNIGHT VELOCITY, starring the implicitly Glinda linked, bimbo Hollywood blonde and Judy Garland lookalike, Kelly-played by Anna Faris-also reaffirmed the film’s interest in Toronto and its film art like GINGER SNAPS and its film artists like Fawcett. The implication that Coppola was satirically roasting Toronto film art and film artists was reaffirmed by the big black SUVs used to ferry Harris around Tokyo, which evoked the big black SUVs used to ferry around film art types during the annual TIFF in September. In fact, the allegorical Peaches song, ‘Fuck The Pain Away’ (2000), and the Sebastien Tellier instrumental piece, ‘Fantino’ (2001), openly linked the film to Toronto and the year of the release of GINGER SNAPS, reaffirming Coppola’s implicit interest in GINGER SNAPS in LOST IN TRANSLATION. Thus, these many allusions to Toronto implicitly affirmed that Coppola was taking on Toronto film artist Fawcett and his Etobicoke shot GINGER SNAPS on one level in LOST IN TORONTO.
Curiously, however, Harris did not appear to be implicitly linked to Fawcett, who was more likely and implicitly linked to Charlotte’s dense, distant and shallow young American husband, John-played by Ribisi, the narrator of THE VIRGIN SUICIDES. This implied that Harris was linked to someone else, an implication reaffirmed by the film’s many allusions to NOTEBOOK ON CITIES & CLOTHES. For this allegorical Wenders documentary look at Paris loving Tokyo fashion designer, Yohji Yamamoto-who evoked the equally slight and bearded Lucas as a young man enough to imply that the film was addressing Lucas-simultaneously pondered celluloid film and electronic video media as much as it did Paris and Tokyo and fashion and identity. Indeed, the neonlit nighttime arrival of the Great Harris in the Emerald Tokonto also evoked a similar scene in NOTEBOOK ON CITIES & CLOTHES, affirming the implicit interest in the Wenders film. In fact, Coppola alluded to NOTEBOOK ON CITIES & CLOTHES so often in LOST IN TORONTO, her film seemed like an exuberant fictional remake of the Wenders documentary-that is, when it wasn’t seeming like a remake of GHOST WORLD or of the allegorical and claustrophobic Lucas film, THX 1138 (1971), whose endless subterranean labyrinth of hallways and rooms returned in the endless labyrinth of rooms and hallways of the Park Hyatt Tokyo that Charlotte and Harris often seemed trapped in.
Significantly, NOTEBOOK ON CITIES & CLOTHES was one of the first thoughtful cinematic meditations on the arrival of a new-in this case video-electronic media age, a brave new age in which imagery became copies rather than originals as in the age of celluloid film art. Thus, the link to the Wenders film implied that Coppola was using LOST IN TORONTO to meditate on the arrival of the digital media age that was sweeping both the celluloid film and videotape ages away, while retaining the copycat nature of the latter. A new digital film art era that some audience members and critics believed was leaving film artists like Lucas and his new STAR WARS Tragic Trilogy lost and adrift in the translation of celluloid film into binary code, given the critical and popular scorn heaped on STAR WARS EPISODE I: THE PHANTOM MENACE and STAR WARS EPISODE II: ATTACK OF THE CLONES. A scorn implicitly shared by Coppola, for the older action film star Harris was implicitly linked to Lucas throughout the film.
Indeed, the name of Bob Harris evoked that of Ford’s Bob Falfa in AMERICAN GRAFFITI. This implicit link to AMERICAN GRAFFITI was affirmed by the flaming tressed and implicitly Ozma linked singer-played by Catherine Lambert-in the Rick’s Café Americain evoking nightclub located high up in the Park Hyatt Tokyo when she sang the allegorical Maria Muldaur hit, ‘Midnight At The Oasis’ (1973), for 1973 was the year of the release of AMERICAN GRAFFITI. The sight and sound of Ozma singing the allegorical Simon and Garfunkel hit, ‘Scarborough Fair’ (1966), reaffirmed the film’s implicit interest in Lucas, for ‘Scarborough Fair’ was released the year Lucas graduated from USC film school. Even Kelly, the archetypal Hollywood blonde bimbo, linked the film to Lucas by song when one sleepless night in the Park Hyatt Tokyo club she sang the allegorical Marvin Hamlisch and Carole B. Sage hit theme song, ‘Nobody Does It Better’, from the allegorical and implicitly Lucas addressing Lewis Gilbert film, THE SPY WHO LOVED ME (1977), released the year the life of Lucas was changed forever by the release of STAR WARS EPISODE IV: A NEW HOPE on May 25, 1977.
Even the sight of Harris trying to reboot his boring older life by striking up a relationship with Charlotte-a tragicomic sight that evoked the equally tragicomic ‘fling’ that Enid had with the older, Robert Crumb evoking and John Waters resembling but perhaps Lucas linked bachelor and vintage record collector, Seymour (played by Steve Buscemi) in GHOST WORLD-affirmed the implicit interest of the film in Lucas, for the failed attempt evoked the failure of Lucas to reboot his career with Portman in the STAR WARS Tragic Trilogy. Indeed, Tokonto at neon lit night evoked not just the hellish future L.A. of the eerily prescient and twilit Sir Ridley Scott film, BLADE RUNNER (1982), but the planet city of Coruscant in the allegorical, CGI enhanced and implicitly Cameron and Spielberg roasting Lucas film, STAR WARS EPISODE II: ATTACK OF THE CLONES (2002), affirming the film’s implicit interest in the new STAR WARS Tragic Trilogy. Seeing the married Harris fail to hook up with the equally married Charlotte also reaffirmed the implicit link of Harris to Lucas, reminding us that the Ginge evoking Charlotte was implicitly linked to George in GINGER SNAPS. Seeing Harris at the bar of the Park Hyatt Tokyo club longing wistfully after Charlotte from afar evoked not just Blaine longing after Ilsa in CASABLANCE but Lon Chaney’s implicitly Adolf Hitler linked Phantom in the allegorical Rupert Julian film, THE PHANTOM OF THE OPERA (1925), longing for Mary Philbin’s Christine Daae in THE PHANTOM OF THE OPERA. This evocation gave LOST IN TORONTO a Phantom of the Park Hyatt Tokyo ambience that was also fitting given that Coppola alluded to CARRIE and DEMENTIA 13 in LICK THE STAR and THE VIRGIN SUICIDES. This return of the horror of everyday life theme in the film art of Coppola was reaffirmed by the black clad and Wicked Witch of the West linked ‘Premium Fantasy Woman’ aka Japanese prostitute-played by Nao Asuka-who at one point asked for permission to enter the hotel room of Harris like all good blood sucking vampires.
Thus, while implying that she did not think that her ‘Uncle’ George had died a beastly CGI enhanced blockbuster death with the release of STAR WARS EPISODE I: THE PHANTOM MENACE as Fawcett implied in GINGER SNAPS, Charlotte still implied with the tragicomic inability of either John or Harris to connect with Charlotte that neither Fawcett or Lucas were truly succeeding with their film art. At any rate, the implication that Coppola replied to GINGER SNAPS on one level in LOST IN TRANSLATION, the success of the film and the Best Screenplay Oscar won by Coppola inspired Fawcett and friends, for they responded with not one but two implicitly Coppola roasting and allegorical docufeature GINGER SNAPS sequels, starting with the Brett Sullivan film, GINGER SNAPS II: UNLEASHED (2004).
‘You’re not alone. He’s found you again.’
Indeed, Sullivan soon affirmed his implicit interest in LOST IN TRANSLATION. For not long after we reacquainted ourselves with the implicitly Coppola linked Brigitte Fitzgerald-played again by Perkins-we found her lying on her side on a motel bed after an injection of a solution of the lycanthropy delaying and STAR WARS Tragic Trilogy evoking herb, monk’s hood. Seeing Brigitte lying on her side in bed reminded us that the first time that we saw Charlotte in LOST IN TORONTO, she too was lying on her side on a hotel bed in a room at the Park Hyatt Tokyo. Significantly, however, Sullivan also soon implied that he was concerned about a CGI enhanced blockbuster beast linked to Spielberg rather than Lucas. For the ghost of the implicitly Lucas linked Ginger-played again by Isabelle-appeared in a Hoth evoking winter snowscape like the ghost of Jedi Master Ben Obi Wan Kenobi-played by Sir Alec Guinness-in the implicitly Spielberg bashing and Lucas executive produced allegorical Irv Kershner film, STAR WARS EPISODE V: THE EMPIRE STRIKES BACK (1980), implicitly affirming Ginge’s link to Lucas and warning Brigitte that an implicitly Spielberg linked blockbuster werewolf beast was stalking her.
This warning reminded us that Spielberg had implied in his guilt stricken, twilit and allegorical film, MINORITY REPORT (2002), that he had had more prior knowledge of the use of Chen and Le on the Landis set of TWILIGHT ZONE: THE MOVIE that fateful night in July of ’82 than he had ever admitted in public, causing film artists to turn their anger away from Lucas and toward Spielberg. This implication that Sullivan was now more interested in Spielberg than Lucas was reaffirmed after a werewolf did indeed attack Brigitte and a lonely librarian named Jeremy-played by Brendan Fletcher. For Brendan’s assessment of $23.97 in overdue fines for Brigitte shortly before the attack openly linked the werewolf to the 237 date of the TZ disaster, implicitly linking the werewolf to Spielberg as Lucas had never been linked to the day of the TZ disaster as he was not involved in the creation of TWILIGHT ZONE: THE MOVIE.
Placed in an asylum for troubled young women after the attack and unable to inject herself with healing solutions of monk’s hood, Brigitte slowly transformed into a werewolf over the course of the film. Significantly, while Brigitte faced down and killed the implicitly Spielberg linked blockbuster werewolf, in the end, the film ended with her under the control of the asylum’s youngest female member, a blonde and constantly fantasizing girl played by Tatiana Maslany who was fittingly named Ghost given that Brigitte was haunted by the Jedi-like ‘Force’ ghost of Ginge throughout the film. As Ghost was obsessed with art, Sullivan implied that Coppola had successfully fought off offers to churn out beastly blockbuster dreck for Hollywood only to be taken over and controlled by her film art for art’s side-in short, he implied that he found LOST IN TRANSLATION ‘…too artsy’ for his persnickety tastes. A downer ending absent from the allegorical Grant Harvey trimax, GINGER SNAPS III: THE BEGINNING (2004).
‘The Other will come!’
For earlier incarnations of the implicitly Coppola and Lucas linked Brigitte and Ginger-played again by Perkins and Isabelle, respectively-triumphed over a group of twilit and implicitly film artist linked Northern Legion Trading Company employees at Fort Bailey-including the implicitly Spielberg linked Doc Murphy (played by Matthew Walker) at the gory end of this curious trimax set in northern Canada in 1815, implying the hope of Harvey that Coppola and Lucas would triumph over their film artist foes, in the end. Incidentally, this curious early nineteenth century prequel to the first two GINGER SNAPS films came across as another wild daydream in the mind of the indomitably fantasizing Ghost or a response to the allegorical Michael Punke novel, The Revenant (2002). For on top of a character named Murphy, the novel featured two Brigitte Fitzgerald evoking characters named Bridger and Fitzgerald who abandoned the Lucas linked Hugh Glass to his fate, implying that Punke was replying to GINGER SNAPS in The Revenant. Film artist Alejandro Gonzalez Inarritu certainly implied that he thought so, for he used Fletcher-who played Jeremy, the lonely librarian in GINGER SNAPS II: UNLEASHED and Finn in GINGER SNAPS III: THE BEGINNING-as Fryman in the implicitly Lucas supporting allegorical film, THE REVENANT (2015).
Curiously, the arrival Brigitte and Ginge at and entrance into the fort evoked the arrival at and entrance into the fortress lair of Jabba the Hutt by C3P0 and R2D2-played by Anthony Daniels and Kenny Baker, respectively-at the Tatooine beginning of the Lucas executive produced and implicitly Spielberg roasting allegorical Richard Marquand trimax, STAR WARS EPISODE VI: RETURN OF THE JEDI (1983). This linked all three GINGER SNAPS films to an individual film of the STAR WARS Classic Trilogy, reaffirming that the Ginger Snaps Trilogy was just as interested in Lucas as Coppola. The isolated and snowbound northern fort and its personnel also evoked the isolated American Antarctic research station in the presciently twilit and allegorical John Carpenter film, THE THING (1982), openly linking the film to the twilit and disastrous year of 1982. A fitting link, for the blockbuster beast linked extraterrestrial monster that slowly killed the younger New Hollywood director linked personnel of the Antarctic station of THE THING or caused them to kill themselves returned as a pack of beastly blockbuster werewolves that slowly killed the twilit fort personnel of GINGER SNAPS III: THE BEGINNING or caused them to kill themselves. Significantly, Brigitte and Ginger avoided the fate of the doomed men when the banished Ginger returned to the fort in a hooded cape like Mark Hamill’s Luke Skywalker at Jabba’s palace in STAR WARS EPISODE VI: RETURN OF THE JEDI and saved Brigitte from twilit blockbuster beasts and beastly men, in the end.
Curiously, the implicit support given to Coppola in GINGER SNAPS III: THE BEGINNING was also implicitly given to her the following year by Tony Scott when he implicitly and enthusiastically toasted Coppola in his Ozian themed and LICK THE STAR and LOST IN TRANSLATION evoking allegorical film, DOMINO (2005).
‘To the woman who has brought beauty and grace to this profession, Domino Harvey!’
Indeed, Scott likened Coppola’s courage in taking on the alpha male film artists of Hollywood and her unflinchingly tough but uncompromisingly feminine and feminist style of film art to a real life and equally tough but uncompromisingly feminine, feminist and implicitly Dorothy linked bounty hunter, Domino Harvey-played by Keira Knightley-in DOMINO. This implication was affirmed by the name of Domino, which evoked the favourite nom d’art of Coppola in her film acting youth, and by Domino’s famous film and telefilm actor father, Laurence Harvey-played by Jesse Pate-who evoked Coppola sr. Indeed, the appearance of Mickey Rourke as Domino’s implicitly Lucas and Scarecrow linked boss, Ed Moseby, head of the reality tv bounty hunter A-Team, the Bounty Squad, openly affirmed the implicit link of Harvey father and daughter to Coppola father and daughter via Rourke’s implicitly Lynch linked character Motorcycle Boy in RUMBLE FISH.
The fact that Scott also implicitly roasted Toronto in DOMINO as much as Coppola implicitly did in LOST IN TORONTO reaffirmed his implicit support for Coppola in DOMINO. Indeed, the presence of Stanley Kamel as the Moses Znaimer resembling gangster, Anthony Cigliotti, implicitly affirmed the interest of Scott in Toronto. In fact, Scott one upped Coppola in LOST IN TRANSLATION by symbolically blowing up the CN Tower observation deck and the implicitly film artist linked bad guys in a CGI aided explosion that blew up the observation deck of the tower of the Stratosphere Hotel and Casino in the implicitly Emerald City linked Las Vegas at the end of the film, for the stratospheric tower not only resembled the CN Tower but, at 350 m, was the tallest building in Las Vegas, Nevada and the United States, second in height in North America only to the 553 m of the CN Tower. Indeed, the fact that the CN Tower evoking hotel and casino was owned by Dabney Coleman’s implicitly Great Oz linked Drake Bishop affirmed the implicit interest in Toronto in DOMINO, for Bishop’s name evoked Toronto pop star Drake and the Billy Bishop Airport across Toronto Harbour from the CN Tower on Toronto Island.
Significantly, Bishop’s name also evoked the Colonial Marine Private Drake-played by Mark Rolston-and Bishop the android-played by Lance Henriksen-in the twilit and allegorical Cameron film, ALIENS (1986), linking Bishop to Cameron. This implicit link of Bishop to Cameron was reaffirmed by the raging gun battle that preceded the towering explosion-a raging gun battle and explosion to the tune of the 1999 Tom Jones cover of the allegorical Three Dog Night tune, ‘Mama Told Me Not To Come’ (1970)-for the ferocious gun battle evoked the equally ferocious and explosive gun fight at the Cyberdyne headquarters at the end of the twilit, implicitly Lynch roasting and allegorical Cameron film, TERMINATOR 2: JUDGMENT DAY (1991).
As Bishop and Moseby-and Moseby’s Chewie and Cowardly Lion evoking partner, Choco (played by Edgar Ramirez)-died in the closing gun battle, Scott also implied his hope that the indie film art for film art’s sakes of Coppola would triumph over the big budget and CGI enhanced film art of Cameron and Lucas-if not top them both by finally succeeding in breaking film art free from the TZ disaster and the dread Zone Wars. While over the top and as about as subtle as a bull in a china shoppe-and a film that paved the way for a super satirical roast of Coppola to come-the exuberance of DOMINO no doubt helped inspire Domino to return with another male actor linked to 1982, as well as with Beggs, Coppola sr., Dunst, Roos, director of photography Lance Acord-from LICK THE STAR-and film editor Sarah Flack and co-producer Ross Katz-the latter two from LOST IN TORONTO-on her next allegorical docufeature film, MARIE ANTOINETTE (2006).
‘Apparently, nothing happened, your Majesty.’
Significantly, the film’s dreamy prologue, which saw Dunst’s implicitly Dorothy and Zoe linked Queen Marie Antoinette appear out of somewhere lounging in a seat, languorously eating cake and smiling at the audience before cutting to nowhere, evoked the similar beginning of THE VIRGIN SUICIDES. This also linked Marie Antoinette to Lux, implying that Coppola was meditating on New Hollywood film art and film artists again in MARIE ANTOINETTE. This implicit meditation on film art was soon affirmed by Marie Antoinette’s love of patronizing and performing in operas, eighteenth century operas that evoked the allegorical and implicitly Landis bashing Milos Forman film, AMADEUS (1984)-a fitting link, as the implicitly Lucas linked Emperor of Austro-Hungary (played by Jeffrey Jones) in that film was the brother of Marie Antoinette. The link also set us up for her New Hollywood evoking rise and fill, and prepared us for a house-and protocol-bound, boring, detached and frustrating ‘privileged’ life of the Austrian Princess Marie Antoinette in Versailles on behalf of the Alliance-a repetitious boredom emphasized by the constant replaying of the allegorical ‘Concerto in G’ by Vivaldi during her morning waking rituals-that evoked that of Lux after her marriage to the psychologically frozen, impotent and Tin Man evoking King Louis XVI-played by Coppola cousin Jason Schwartzman.
After this dreamy prologue, the film began with the blonde and teenaged Austrian Archduchess Marie Antoinette, and her pug Mops, being reluctantly awakened in their bed one morning by a female servant in her room in the Hofburg palace in Vienna, dressed, and then hustled out of the palace to a waiting horse drawn carriage for a trip to the forested border of Austria and France where the young Princess was handed off to the French and eventually to her grandfather, King Louis XV of France-played by Rip Torn, who was linked to Coppola sr. by way of his role as I.H. Chanticleer, ‘Curator of Icunabula’, in YOU’RE A BIG BOY NOW-who in turn presented her to his son, Prince Louis XVI-played by Coppola’s cousin, Jason Schwartzman-in a French forest to begin her new tragicomic life as the mostly reviled last Queen of France-and Fashion.
Significantly, this beginning evoked the beginning of LIFE WITHOUT ZOE, which saw Zoe and her little black terrier woken up by faithful Hector, showered, dressed, breakfasted, and then hustled out of the Sherry Netherlands Hotel by various attendants and Clifford the doorman-played by Paul Herman-to her waiting school bus, linking Marie Antoinette to Zoe-a link reaffirmed by the fact that MARIE ANOINTETTE, like LIFE WITHOUT ZOE, had a visual style that evoked a fashion or VANITY FAIR shoot. As Zoe was linked to Sofia throughout LIFE WITHOUT ZOE, the implication was that Marie Antoinette now also symbolized Coppola. In fact, given that Dunst played Marie Antoinette, the implication was that Coppola was also now confirming that Lux had symbolized Coppola in THE VIRGIN SUICIDES.
Just as significantly, a human voiced wolf howl had been heard prior to the arrival of Prince Louis XVI in the French forest. The howl evoked the telltale human voiced wolf howl that was often heard on passing teen Rebel car radios prior to the latest gleefully salacious sermon of Robert Smith’s deviant DJ Wolfman Jack in AMERICAN GRAFFITI. As the surprise success of AMERICAN GRAFFITI made Lucas the King of Film, a royal ascension soon to be experienced by Louis XVI and Marie Antoinette, the implication was that Louis XVI symbolized Lucas. This implication was reaffirmed by the fact that Louis XVI was older than Marie Antoinette, as Lucas was older than Coppola. This implication was also reaffirmed by Louis XVI’s still infamous inability to conceive a child with Marie Antoinette for the first seven or so years of their marriage, as the Prince and then King was so nonplussed by his forced marriage to a woman he did not love that he was initially unable to make love to the pretty Princess and then Queen. This psychological impotence reminded us that Lucas also infamously did not conceive a child with his first wife Marcia over the fourteen years of their marriage, leading to their divorce in 1983, reaffirming the link of Lucas to Louis XVI. The fact that Schwartzman’s Louis XVI looked more like Lucas than he did the real Louis XVI only underlined that implication. The fact that the Austrian Alliance with France evoked the Rebel Alliance of the STAR WARS Classic Trilogy, also reaffirmed the implication was that King Louis XVI symbolized Lucas.
The stiff and formal style of MARIE ANTOINETTE and the rigid rules of court life also evoked the stiff and formal style and the rigid rules of the court of Queen Amidala in the STAR WARS Tragic Trilogy. The fact that the Tragic Trilogy had wrapped up by bashing Cameron and Spielberg with sad and bitter fury in the allegorical film, STAR WARS EPISODE III: REVENGE OF THE SITH (2005), only a year before the release of MARIE ANTOINETTE, increased the likelihood that Coppola was addressing Lucas and the Tragic Trilogy in the film. Indeed, as Coppola also just as bitterly mocked Spielberg in the form of a dottering old aristocratic woman at Versailles who looked like Spielberg, the likelihood that she was addressing Lucas in MARIE ANTOINETTE increased.
Thus, the implication was that Coppola was sadly lamenting the detachment of Lucas from audiences and the true Rebel Alliance on his remote Skywalker Ranch retreat after the TZ disaster in the decades before the release of his new STAR WARS Tragic Trilogy, and pondering his rejection by angry audiences after the release of the uninspiring new trilogy in MARIE ANTOINETTE. Indeed, the return of Dunst, who had played Lux, the symbol of unattainable and unrealizable New Hollywood film art in THE VIRGIN SUICIDES, underlined that point, making it clear that Coppola felt that Lucas, alas, had not been able to truly connect with the art of film or with audiences again in the new Twilight Trilogy.
Given Marie Antoinette’s implicit link to Coppola, Coppola also implied that she was sending a message to any possible critics and naysayers that she intended to stand by her ‘Uncle’ Lucas no matter what anyone thought of that support or of her role as Sache in STAR WARS EPISODE I: THE PHANTOM MENACE. Indeed, Coppola underlined that support by her choice of a film on Marie Antoinette, for at some point in her life she must have discovered and been struck by the curious fact that Marie Antoinette and Prince Louis XVI actually first met each other in another French forest as she travelled by coach to Versailles on May 14, 1770. 2 As May 14th was the shared birthday of Coppola and Lucas, Coppola realized that Marie Antoinette and Louis XVI’s link to May 14th would fittingly affirm that the two star crossed royal lovers symbolized her and Lucas. The fact that Marie Antoinette refused to save the lives of her children and herself by fleeing Versaillies before the mob arrived, instead choosing to stay by the side of Louis XVI and suffer whatever fate befell him, also implicitly affirmed her commitment to Lucas and his new STAR WARS Trilogy no matter the cost to her and her own film art.
Significantly, the early years of young Louis and Marie Antoinette at Versailles before the death of King Louis XV-the presence of Torn as the older King making MARIE ANTOINETTE the third time that an older male actor linked a Coppola feature film to the twilit and disastrous year of 1982, via Torn’s eerily Marshall linked character Maax in the eerily twilit, prescient and allegorical Don Coscarelli film, THE BEASTMASTER (1982), evoked the golden years of New Hollywood film before 1982, confirming the film’s implicit interest in the rise and fall of Lucas. To make that clear, things began to go downhill midway through the film when Bow Wow Wow’s 1982 cover of the allegorical Strangelove tune ‘I Want Candy’ (1965) played when Marie Antoinette and her female aristocratic pals went on a raucous shopping spree in Paris, a sequence that evoked Zoe and her pals in LIFE WITHOUT ZOE. A ball in Paris that featured the allegorical tune, ‘Aphrodisiac’, another 1982 hit from Bow Wow Wow, immediately after this shopping spree reinforced the link to 1982, as did the eye makeup worn by Marie Antoinette at the ball which evoked the raccoon eyed makeup of Darryl Hannah’s Pris in BLADE RUNNER.
After this midway point, the long and inexorable slide down to capture by outraged and revolutionary French citizens and death on the guillotine began, reminding us that, while not responsible for the TZ disaster in any way, the foolish 1982 decision of Lucas to stick to his pre-TZ disaster promise and work with Kennedy, Marshall and Spielberg on the twilit and allegorical sequel, INDIANA JONES AND THE TEMPLE OF DOOM, destroyed the reputation of Lucas, convincing audiences that he was a Sith Lord in Jedi robes, and more interested in making money than worrying about suspicious fatalities on film sets and the people who caused those fatalities. Thus, his own fall from Louis XVI-like heights began soon after the TZ disaster in 1982, leading equally angry mobs to rise up and overthrow him, summed up by the outraged and furious scorn heaped by audiences on INDIANA JONES AND THE TEMPLE OF DOOM, and the earlier STAR WARS EPISODE VI: RETURN OF THE JEDI.
Of course, the angrily shouting mob with the torches, sickles and pitch forks who arrived at Versailles for Louis XVI and Marie Antoinette in the end-fittingly, at chapter 23 on the DVD-evoked the same mobs that often arrived at the end of horror films, including FRANKENWEENIE. This reminded us that Marie Antoinette, with her blonde hair often piled up into elaborate dos and her even bigger blonde wigs, often evoked Elsa Lanchester’s Bride of Frankenstein in the allegorical James Whale film, THE BRIDE OF FRANKENSTEIN (1935). Indeed, this link to the Bride was made definite shortly before the furious climax of the film. For we suddenly found ourselves looking at the nightmarish vision of Marie Antoinette that had been built up in the minds of the French revolutionaries, a truly Bride of Frankenstein-like nightmare that saw the sweet and pleasant Queen lying insolently in a bathtub with her blonde hair combed straight up from her head, her pale face accentuating dark black lips saying, with dismissive and amused contempt, ‘…let them eat cake’. Thus, it was a shock to the revolutionary and howling citizens when they arrived with their torches and pitchforks outside Versailles to be greeted by a humble, contrite, human and very ordinary Queen Marie Antoinette when she stepped out on to a balcony to acknowledge them and place herself and her family at their mercy. Alas, that mercy was not given, as Louis XVI and Marie Antoinette were cut down with the same unsympathetic fury that audiences heaped on Lucas, Portman and the STAR WARS Tragic Trilogy. A second sad and wistful meditation on Lucas that implied that Coppola was contemplating her own Lucas Trilogy of films to match the Classic Trilogy and the Tragic Trilogy, Lucas linked themes that were satirized by Anne Fletcher in her LIFE WITHOUT ZOE and MARIE ANTOINETTE evoking allegorical film, 27 DRESSES (2007).
Indeed, the film saw Coppola’s continued obsession with the older Lucas and the Tragic Trilogy, with solving the problems and planning the marriages of other people and with not exploring her own themes in her film art gently mocked in the form of the obsession of Katherine Heigl’s implicitly Coppola linked Jane Nichols with her older and implicitly Lucas linked boss, George-played by Edward Burns-with planning the weddings of other people, and with not developing her relationship with the younger Kevin Doyle-played by James Marsden. Thus, by having Nichols drop the older George, stop planning other weddings, and marry Doyle instead, Fletcher made it clear that she felt that Coppola should drop Lucas and head off in her own direction. This was a conviction that was implicitly and mostly repeated by Coppola’s friend Cassavetes the same year in her allegorical and Coppola addressing film, BROKEN ENGLISH (2007) and by Julie Bertuccelli in her allegorical film, THE TREE (2010). Gently satirical and thought provoking support indeed, which no doubt inspired Coppola when she did indeed implicitly bring her Lucas Trilogy full Ozian circle in collaboration with Beggs, Coppola sr., Flack, Roos and Roman Coppola-assistant director on LOST IN TORONTO-in her next allegorical and Ozian themed docufeature film, SOMEWHERE (2010).
Indeed, Coppola immediately implied that she was bringing her Lucas Trilogy full circle in SOMEWHERE. For the opening sequence that saw lonely, listless, implicitly Great Oz linked and recently divorced film star Johnny Marco-played by Stephen Dorff, who evoked Moreby in DOMINO and Harris in LOST IN TRANSLATION-driving a fittingly Forceful four times around a short circular race track in a wicked black Ferrari recalled another rocketing racer on a small track in the allegorical Lucas student short film, 1:42:08 (1966), completed the year Lucas graduated from USC Film School. The fact that SOMEWHERE was also mostly a remake of LOST IN TRANSLATION set mostly in the Park Hyatt Tokyo evoking Chateau Marmont Hotel in LA-linked forever to the twilit and disastrous year of 1982, as it was where John Belushi inadvertently died of an injection of cocaine and heroin on March 5, 1982-also implicitly affirmed that Coppola was addressing Lucas again and bringing her Lucas Trilogy full circle. Indeed, the resemblance of SOMEWHERE to LOST IN TRANSLATION reminded us that Lucas had disappointed audiences by remaking STAR WARS EPISODE IV: A NEW HOPE in the form of STAR WARS EPISODE VI: RETURN OF THE JEDI when he concluded the Classic Trilogy, reaffirming the implication that Lucas was being addressed in the film.
In addition, Johnny Marco’s name recalled Ford’s implicitly Scarecrow linked Han Solo in the STAR WARS Classic Trilogy and Paul Le Mat’s implicitly Great Oz linked John Milner in AMERICAN GRAFFITI. This link to AMERICAN GRAFFITI was reaffirmed by his road trips with his Dorothy and Zoe evoking daughter, Cleo-played by Elle Fanning-for they recalled the Ozian yellow lined road journey of Carol-played by Mackenzie Phillips-and Milner in Milner’s Yellow Brick Road coloured Deuce Coupe in AMERICAN GRAFFITI. Of course, Marco’s obsession with beautiful blondes recalled the obsession of the Cowardly Curt Henderson-played by Richard Dreyfuss-with the mysterious and implicitly Glinda linked blonde in the white T-bird-played by Suzanne Somers-in AMERICAN GRAFFITI as much as the obsession of the teenage nerds with the equally beautiful and mysterious blonde Lisbon sisters of THE VIRGIN SUICIDES. Marco’s labyrinthine existence in hotel hallways in L.A. and strange and disorienting Roma evoked the subterranean labyrinth of hallways and rooms of THX 1138 and the equally labyrinthine hallways and rooms of the Park Hyatt Tokyo in strange and disorienting Tokonto in LOST IN TRANSLATION, reaffirming the film’s implicit interest in Lucas. Indeed, Bambi and Cindy-played by Kristina and Karissa Shannon, respectively-the blonde twin sisters who performed burlesque pole dances for Marco in his hotel room, not only perhaps symbolized the two failed STAR WARS Trilogies, but also evoked the Afro holo-dancers that THX 1138-played by Robert Duvall-watched on holo-tv in his equally lonely and solitary apartment in THX 1138.
In addition, the sight of Marco fleeing his hotel labyrinth world in the end and driving out of L.A. into the arid countryside in his rocketing black Ferrari-its licence 5ZUO782 evoking Oz as much as the month and year of the TZ disaster-in search of freedom-or was that off to nowhere again?-evoked the beginning of the implicitly Lucas addressing and allegorical Spielberg film, DUEL (1971), reaffirming that Lucas was implicitly left all alone at the end of the film. Of course, the stretch of road that Marco was seen striding along after getting out of his car recalled Paradise Road at the end of AMERICAN GRAFFITI, a final link to that film openly affirmed by the inclusion in the closing credits of Bryan Ferry’s cover of ‘Smoke Gets in Your Eyes’ (1974), as the song was the love theme of AMERICAN GRAFFITI. And gently but firmly implying that she was chiding him for abandoning the artistry of AMERICAN GRAFFITI and THX 1138 for the commercialism of the STAR WARS films and reminding him that it was not too late to make one of the small art films he had been threatening to make since the success of STAR WARS EPISODE IV: A NEW HOPE-a better art film like SOMEWHERE.
Curiously, Stan ‘the Man’ Lee and Marvel Studios implicitly believed that Coppola’s film art was worthy of a super satirical roast, for they implicitly linked her to the Domino evoking ex-Tokyo fashion model Natasha ‘Black Widow’ Romanoff-no doubt due to the fact that many of the main characters in the film art of Coppola died physically, spiritually or both, and played by an unwary Johansson, swallowed up alas by the blockbuster beast-created by Stan Lee, Don Rico and Don Heck for Marvel Comics and had her fight alongside the implicitly Jason Reitman linked Tony ‘Iron Man’ Stark-played by Robert Downey jr.-and the implicitly Sarah Polley linked Pepper Potts-played by Gwyneth Paltrow-against the implicitly Sir Scott linked Evildoer Ivan ‘Black Tsar’ Vanko-played by Rourke-in the allegorical and CGI enhanced Jon Favreau film, IRON MAN 2 (2010). Indeed, the film’s allusions to DOMINO, LOST IN TRANSLATION and MARIE ANTOINETTE and the appearance of Rourke-who played Moseby in DOMINO-as Black Tsar implicitly affirmed that Coppola was being satirized in the film. As for Lucas and Anthony Hemingway, they implied that they did not share her assessment of Lucas and the STAR WARS Tragic Trilogy, petulantly and implicitly roasting her and Coppola sr. in the allegorical and CGI enhanced film, RED TAILS (2012).
Significantly, Sir Ridley Scott implicitly warned Coppola in the implicit form of Doctor Elizabeth ‘Ellie’ Shaw-played by Noomi Rapace-to stick to her indie film art and avoid the alienated and CGI enhanced blockbuster beast lest she give birth to an alienated and CGI enhanced blockbuster beast like Shaw-a beast that almost killed her-in his gleefully nightmarish and ironically CGI enhanced Scott Free film, PROMETHEUS (2012). As for Disney and Marvel Studios, they again implicitly linked Coppola to Natasha ‘Black Widow’ Romanoff-played again by Johansson-and had her team up with her fellow implicitly film artist linked Avengers-including the implicitly Reitman linked Tony ‘Iron Man’ Stark (played again by Downey jr.)-to take on the implicitly Spielberg linked Loki-played by Tom Hiddleston-in the allegorical, CGI enhanced and implicitly Spielberg bashing Joss Whedon film, THE AVENGERS (2012). Perhaps this latter film inspired Coppola, for she soon returned to implicitly bash Reitman when she returned to the Temple Theatre with Beggs, Coppola Roman, Coppola sr., Flack, Roos and SOMEWHERE costume designer Stacey Battat and production designer Anne Ross with the allegorical docufeature film, THE BLING RING (2013), inspired by the allegorical Nancy Jo Sales article, ‘The Suspects Wore Louboutins’ (VANITY FAIR March 2010).
‘Yo, home skillet, what’s going on?’
Indeed, Coppola implicitly linked Reitman to naïve and insecure teenaged male lead Marc Hall-played by Israel Broussard-and his film industry linked father-played by Marc Coppola-to Reitman’s film artist father, Ivan Reitman, throughout the film. Coppola also implicitly linked teenaged female lead Rebecca On-played by Katie Chang-to Diablo Cody, screenwriter of the allegorical Reitman films, JUNO (2007), and YOUNG ADULT (2011)-the latter of which was a film that implicitly bashed notoriously iconoclastic Mississauga film scholar, Gary W. Wright-throughout THE BLING RING. The implicit link of supporting characters Chloe-played by Claire Julien-to the implicitly Wright linked Mavis Gary-played by Charlize Theron-in YOUNG ADULT, Nicki-played by Emma Watson-to Nick Naylor-played by Aaron Eckhart-in the allegorical Reitman film, THANK YOU FOR SMOKING (2005) and the Dorothy evoking orphan, Sam-played by Taissa Farmiga-to her mother Vera Farmiga’s Alex in the allegorical Reitman film, UP IN THE AIR (2009), reaffirmed the implicit interest of Coppola in young Reitman and his film art.
In addition, Chloe’s name also evoked the allegorical Atom Egoyan film, CHLOE (2009), a film about a GTA escort named Chloe-played by Amanda Seyfried-reaffirming Coppola’s implicit interest in GTA film art, film artists and film ‘scholars’. Last but not least, the choice of the allegorical Deadmaus tune, ‘FML’ (2009), on the fittingly lost and confused soundtrack openly affirmed Coppola’s interest in the GTA and its artists. Thus, by having Rebecca lead Marc, Chloe, Nicki and Sam astray on a film star targeting car and home robbery spree in the Hollywood Hills so that the dimwitted and untalented teenage wannabees could vicariously share in the fortune and glory of their favourite stars, only to wind up in the nowhere horror of everyday life in prison, Coppola implied that Diablo and Reitman-and perhaps even Wright-were not just dumb and talentless wannabees, but on the road to nowhere, as well.
Significantly, the Bling Ring thefts evoked the raucous 1982 linked shopping spree to the tune of ‘I Want Candy’ of Marie Antoinette and her aristocratic friends in MARIE ANTOINETTE. This implicit link to the disastrous year of 1982 was reaffirmed by the names of three of the main celebrities that were robbed by the Bling Ring, for Orlando Bloom, Paris Hilton and Lindsay Lohan all had names that could be almost, or fully, turned into anagrams for Landis. A link to twilit disaster reinforced by the digifilm news coverage of the Bling Ring by TMZ.com, a ‘T-Z’ coverage of their thefts and arrests that ironically gave the Bling Ring the fifteen minutes of fame they all craved. The curious fact that Rachel Lee, the real life Ring Bling leader who inspired the character of On, had a name that evoked Myca Le, one of the children killed in the TZ disaster, and Sean Young’s Rachael Tyrell in BLADE RUNNER, also reaffirmed the implicit links of the Bling Ring to 1982. Rachel also had a stepfather named Phil whose name evoked Philip K. Dick, who not only wrote the allegorical and implicitly Walt Disney bashing novel, Do Androids Dream Of Electric Sheep? (1968), that inspired BLADE RUNNER, but also died in March of 1982, in yet more links of the Bling Ring to the twilit and disastrous year of 1982.
Curiously, the Sales companion volume, The Bling Ring, also revealed how fitting Coppola’s choice of film was, for the tragicomic tome pointed out that Alexis Neiers and Tess Taylor, two of the real life Bling Ringers, had a bit part in a lesbian love scene in the allegorical Robert Bennett film, FRAT PARTY (2009), a ‘film’ that was another allegorical meditation on the relationship of Coppola and Lucas. At any rate, while implicitly roasting Cody and Reitman in THE BLING RING, Coppola was herself implicitly roasted in the form of Dianna Agron’s beautiful but dangerous teen Nikita, Belle Blake, in the allegorical Luc Besson film, THE FAMILY (2013), an implicit and darkly humourous roast of the Coppola film art family. Coppola was also implicitly given another super satirical roast in the form of Natasha ‘Black Widow’ Romanoff-played again by Johansson-in the allegorical and CGI enhanced Anthony and Joe Russo film, CAPTAIN AMERICA: THE WINTER SOLDIER (2014).
However, the high quality of THE BLING RING and the other film art of Coppola was clearly as appreciated by Nancy Meyers as it was by Harvey, Scott and Sullivan, for Meyers implicitly toasted Coppola and her film art in her sympathetic and LOST IN TRANSLATION evoking allegorical docufeature film, THE INTERN (2015)-a somehow fitting support given that Meyers, like Coppola, had recently addressed Lucas and his new STAR WARS Tragic Trilogy in her own allegorical Lucas Trilogy composed of SOMETHING’S GOTTA GIVE (2003), THE HOLIDAY (2006) and IT’S COMPLICATED (2009).
‘You do inspire, Jules’.
Indeed, the MARIE ANTOINETTE evoking Antoinette dress that Anne Hathaway’s Coppola resembling and implicitly linked Jules Ostin-with her Lux Lisbon evoking name-was seen contemplating at her internet fashion firm with its Antoinette and Lick The Star evoking name, About the Fit, early in the film affirmed the implicit interest in Coppola in THE INTERN. The relationship that developed between Ostin and the implicitly Coppola sr. linked retiree intern, Ben Whittaker-played by Robert De Niro-evoked that between Charlotte and Harris in LOST IN TRANSLATION and also implied that THE INTERN was symbolically meditating on the passing of the allegorical film torch from Coppola sr. to Coppola at American Zoetrope. The fact that the film ended with Ostin deciding not to hire a promising San Francisco based CEO she was reluctantly persuaded to hire to help her head About the Fit reaffirmed the implicit Coppola addressing intent of THE INTERN, for San Francisco had been the physical, philosophical, intellectual, artistic, creative, emotional and spiritual home of American Zoetrope since the late Sixties.
For his part, Whedon had the implicitly Coppola linked Natasha ‘Black Widow’ Romanoff-played again by Johansson-team up again with the rest of the Avengers for more CGI enhanced superheroic satire in the allegorical film, THE AVENGERS: AGE OF ULTRON (2015). Curiously, given that the marvelous Avengers took on a super baddie-the James Spader voiced Ultron-who appeared out of nowhere on the internet to menace the world like I did with my Zone Wars website, it was possible that the film was petulantly roasting me. !Avengers dissemble! For their part, the Russo Brothers also implicitly linked Black Widow-played again by Johansson-to Coppola again and ironically had her fight with a group of mostly and implicitly Canadian film artist linked superheroes led by the implicitly Reitman linked Iron Man-played again by Downey jr.-against a group of implicitly American film artist linked superheroes led by the implicitly Clint Eastwood linked Steve ‘Captain America’ Rogers-played by Chris Evans-in their allegorical and CGI enhanced super satirical film, CAPTAIN AMERICA: CIVIL WAR (2016). Curiously, DC Comics and Warner Brothers also implicitly decided that Coppola was worthy of a super satirical roast that year in the implicit form of Diana ‘Wonder Woman’ Prince-inspired by the character created for DC by Doctor William M. Marston in the despairing depths of World War Two, and played by Gal Gadot-who teamed up with the implicitly Gardevil linked Bruce ‘Batman’ Wayne-played by Ben Affleck-and the implicitly Reitman linked Clark/Kal-El ‘Superman’ Kent-played by Henry Cavill-to save the world in the allegorical and CGI enhanced Zack Snyder film, BATMAN V SUPERMAN: DAWN OF JUSTICE (2016).
As for Coppola, with its similarities to the allegorical and CGI free Reitman film, LABOR DAY (2015), she implied that she was furiously responding to that film when she returned with Beggs, Coppola Roman, Coppola sr., Dunst, Fanning, Flack, Roos and Ross with her allegorical docufeature film, THE BEGUILED (2017), inspired by the allegorical Thomas Cullinan novel, The Beguiled (1966), and by the allegorical Don Siegel film, THE BEGUILED (1971).
‘He seems to be a sensitive person. I found him understanding.’
For the sight and sound of wounded Union Corporal John Patrick McBurney-played by Colin Farrell-taken in at the beginning of the film by the staff and students of the Farnsworth Seminary For Young Ladies and nursed back to health evoked the sight and sound of injured, on the run and implicitly Tony ‘Iron Man’ Stark linked convict Frank Chambers-played by a Josh Brolin made up to look like Downey jr.-taking mother and son Adele and Henry Wheeler-played by Kate Winslet and Gatlin Griffith, respectively-hostage at the beginning of LABOR DAY and being nursed back to health by them in their home in that film. Curiously, given that the ladies successfully poisoned the rapacious Corporal McBurney, in the end, Coppola either implicitly killed Reitman for creating LABOR DAY, or killed Marvel Studios for raping film art with the superheroic cinematic satires. Coppola also succeeded in finally killing a film art linked character with poisoned food as Chloe dreamed of doing in LICK THE STAR.
At any rate, some film art related point was implicitly being made in THE BEGUILED, for the name of the Farnsworth school linked another Coppola film to 1982 via actor/stuntman Richard Farnsworth and his role as gentleman train robber Bill Miner in the allegorical Phillip Borsos film, THE GREY FOX (1982). The link to Miner also affirmed the film’s implicit interest in Canadian film art and film artists, as THE GREY FOX was created in British Columbia, and Borsos was a Canadian film artist. For their part, DC and Warner Brothers implicitly roasted Coppola again in the implicit form of Diana ‘Wonder Woman’ Prince-played again by Gadot-and had her fight the possibly Stan ‘the Man’ Lee linked Sir Patrick Morgan-played by David Thewlis-and his implicitly Jack ‘King’ Kirby linked partner-in-Evil, General Ludendorff-played by Danny Huston-with the aid of the implicitly Lucas linked Steve Trevor-played by Chris Pine-in the allegorical and CGI enhanced Patty Jenkins film, WONDER WOMAN (2017). Later that same year, DC and Warners also returned the implicitly Coppola linked Diana ‘Wonder Woman’ Prince-played again by Gadot-to the Temple Theatre to save the world again alongside the implicitly Gardevil linked Bruce ‘Batman’ Wayne-played again by Affleck-the implicitly Reitman linked Clark/Kal-El ‘Superman’ Kent-played again by Cavill-the implicitly Jay Baruchel linked Barry ‘the Flash’ Allen-played by Ezra Miller-and the implicitly Luc Besson linked Arthur ‘Aquaman’ Curry-played by Jason Momoa-as a member of the superheroic Justice League in the allegorical and CGI enhanced Zack Snyder film, JUSTICE LEAGUE (2017).
For their part, Marvel Studios implicitly believed that THE BEGUILED made Coppola ripe for another implicitly super satirical roast in the form of Natasha ‘Black Widow’ Romanoff-played again by Johansson-in the allegorical and CGI enhanced Russo Brothers film, AVENGERS: INFINITY WAR (2018). Gary Ross also no doubt implicitly linked Coppola to one of the implicitly female film artist linked mischief makers-possibly Hathaway’s Daphne Kruger-of the all female gang in his allegorical film, OCEAN’S 8 (2018). However, the laugh was on Marvel Studios and Ross, as better overall than their super satires was the film art of Coppola, and on a path that proved that in good hands was the family business after a lifelong internship with Mama, Papa, Aunt, Beggs and Roos-and even poor ol’ ‘Uncle’ George-and one that still was somewhere in translation.
- Cowie, Coppola: a biography, pp. 230-1.
- Weber, Queen Of Fashion, p. 37.
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Coppola, Sofia. Marie Antoinette. New York: Rizzoli International Publications, Inc., 2006.
Cowie, Peter. Coppola: a biography. New York: Charles Scribner’s Sons, 1990.
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Moorcock, Michael. The Fortress Of The Pearl. New York:
Ace Books, 1989.
Punke, Michael. The Revenant. New York: Picador, 2015.
Sales, Nancy Jo. The Bling Ring. New York: itbooks, 2013.
-----. ‘The Suspects Wore Louboutins’. Vanity Fair, March, 2010.
Weber, Caroline. Queen Of Fashion: what Marie Antoinette wore to the Revolution. New York: Henry Holt and Company, 2006.