Albert Brooks’ “Lost in America” is a horror movie for the middle class

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In a new interview that’s one of the bonus features on the new Blu-ray Criterion Collection edition of “Lost in America,” Albert Brooks is asked about being cast as a villain by Nicolas Winding Refn in “Drive.”

Brooks says that Winding Refn first saw “Lost in America,” it scared him. He was particular unnerved by the anger in Brooks’ performance, as advertising executive David Howard who tries to “drop out” of society comfortably (in a Winnebago, with a comfortable “nest egg”), only to face real financial ruin when his wife Linda (Julie Hagerty) gambles away that nest egg.

It’s odd at first to think of Brooks’ performance as a scary one. But while watching the Criterion disc, I happened to mute the sound during the scene where David is excoriating his wife for losing all that money. And without hearing Brooks’ great, funny dialogue, without hearing him refer to a nest as a “round stick,” it really is startling how angry he is at his wife.

It’s an anger that comes from fear, a fear that we laugh at because we recognize it so deeply. “Lost in America”is one of the best comedies ever made. And it’s also a horror movie.

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Sweet Ginger Brown, “The Flamingo Kid” is Garry Marshall’s best movie

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Garry Marshall once quite a TV writing job as a young man because he wouldn’t write what the producer called “schmunny” – i.e. schmaltzy and funny. Ironic, of course, since schmunny would sum up most of Marshall’s career as a director, sometimes tipping towards funny (“Overboard”), oftentimes tipping towards schmaltz (“Beaches”), but always somewhere in between the two.

His second film, 1984’s “The Flamingo Kid,” gets the balance just right, although I’d call it sentimental and nostalgic, but not schmaltzy. The underrated gem may get a second look now that it’s being turned into a Broadway musical next year, and is out this week in a new Blu-ray edition from Kino Lorber.

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James Ivory’s “Maurice” and “Moonlight” would have a lot to talk about

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If nothing else, “Maurice” has the British’s gift for not talking about what they’re talking about on full display. Being gay is referred to, famously, as “the unspeakable vice of the Greeks” by one character, and in other instances we hear a gay love affair referred to as a “muddle” or “messiness.” As Ben Kingsley, playing an American hypnotist, says in what may be E.M. Forster’s novel’s most quotable line, “England has always been discinclined to accept human nature.”

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