🕳️

objectifier of middle-aged men (an archive of sorts — edits, film stills, etc.)

[arrodete]

i will take good care of you

midnight cowboy (1969) dir. john schlesinger / mean streets (1973) dir. martin scorsese / the deer hunter (1978) dir. michael cimino / mikey and nicky (1976) dir. elaine may

[vandafag]

[arrodete]

rip rick dalton and cliff booth i should have been your writer

[brunettesnaps]

The deer hunter (1978)

[arrodete]

oh … that picture on the wall you’re scared of looks just like you him.. the ethel cain of it all

[carolsturka]

it has never been this serious again

[arrodete]

you'll go fight a war, i'll go missing

the deer hunter (1978) dir. michael cimino ethel cain — nettles

[arrodete]

they both loved him like they loved no one

the deer hunter (1978) dir. michael cimino big thief — velvet ring

[arrodete]

posting this on tiktok is crazy because someone commented “they are so in love!!!” before immediately deleting it upon realizing that . this Definitely isn’t a happy edit

the way this even got any kind of traction on there kills me because you just know they’re thinking the same thing. like actually they’re a tragic bisexual failthrouple to me (featuring a woman who believes she has no choices and finding herself in the middle of two men doomed by the narrative)

[5bi5]

This kind of male relationship—struck up by necessity, solidified with a handshake, forged into friendship by hard days and wild nights on the road—seems almost as much a relic of the past in cinema as hitchhiking and hobo jungles. Maybe the intimacy of unlucky loners like this—inarticulate, moody, often unsympathetic—feels too small-fry for today’s big screen, too tough a nut to crack for audiences, too analog for a wired world of digital connections. This hardluck friendship at the heart of Scarecrow that may have underwhelmed audiences upon its release felt, to me—sitting alone that night at the New Beverly—nearly revelatory.

DUNCAN BIRMINGHAM - BOXCAR LOVE: SCARECROW'S NOT-SO-MODERN BROMANCE

[arrodete]

i'm not the one you want, babe / i'll only let you down

mean streets (1973) dir. martin scorsese bob dylan — it ain't me

[vhvrs]

happy yaoi day to all who celebrate

[arrodete]

i will take good care of you

midnight cowboy (1969) dir. john schlesinger / mean streets (1973) dir. martin scorsese / the deer hunter (1978) dir. michael cimino / mikey and nicky (1976) dir. elaine may

[arrodete]

need to remake this with scarecrow (1973) ouh i missed out .... max literally tells everybody "i'm take gonna care of him" in the end it's kinda crazy

[vhvrs]

cringe way of living

[arrodete]

achingly lovely

[arrodete]

finally saw scarecrow (1973) ... let me just say that it is very Big for people who love new hollywood movies about two guys who are lowkey in love but too broke/sick/in the middle of a sociopolitical crisis to do anything about it

[arrodete]

i will take good care of you

midnight cowboy (1969) dir. john schlesinger / mean streets (1973) dir. martin scorsese / the deer hunter (1978) dir. michael cimino / mikey and nicky (1976) dir. elaine may

[deadbvystares]

The fact that Mikey and Nicky are also Mike and Nick (The Deer Hunter) solidifies fact that two gays named Michael and Nick (Nicolas, Nikanor, any variant) should not get together. Bound to be doomed, bound for one of them to die tragically.

[arrodete]

parting glances (1986) might be the only film with two canonically gay guys named mike and nick! (but they aren’t together or in love in the film)

[partingoftheways]

[arrodete]

they both loved him like they loved no one

the deer hunter (1978) dir. michael cimino big thief — velvet ring

[arrodete]

i know i say they both loved him like they loved no one but like . it’s in Wildly different ways for sure

mike’s love is a given. everybody can see it. he’d walk through the burning streets of saigon for him, he flew 12,000 miles to get him back, etc etc.

linda is interesting because she spends the first part of the film seemingly torn between mike and nick. she’s dating (then engaged to) nick but she exchanges these longing glances with mike. still, she’s with nick—nick who holds her face carefully, lets her stay in his home, talks to her gently. linda loves him like she loves no one, because no one has treated her like that. the way she loves nick is unfamiliar because his kindness is unfamiliar to her

while mike loves nick like the love of his life, linda loves him like he’s the best she’ll ever have

[arrodete]

this is to say . i am a Very big fan of the Bisexual Love Triangle dynamic (challengers, y tu mamá también, ferris bueller, butch cassidy, etc.) but very much in the way of examining the woman in between the two men

oftentimes, the women are written to teach the men something. while they get their own arcs and storylines, it’s still the men (their relationship, their personal developments) at the forefront. case in point: y tu mamá también, where luisa gets her own well-written story, but ultimately the film is centered around julio and tenoch’s coming of age

i think that’s what makes the deer hunter’s Bisexual Love Triangle work so well for me! linda is so full of her own depth, even with her admittedly small part in the film. she gets her own story: even her staying in their trailer is an act that pushes her story forward, a choice she makes to get away from her own haunted house. she’s not written to be something standing between mike and nick; if anything, it’s the ghost of nick that drives a wedge between her and mike.

the scene in the grocery store where mike walks in to her crying quietly is so important to me—we get so much of mike’s quiet anguish upon coming home to clairton, but just a peek of linda’s own pain gives her so much character and brings so much depth to their relationship. these two are grieving and in pain, and they may have had a chance for love once, but that chance died along with nick. they never really had a shot with just the two of them. it doesn’t work with just the two of them.

[lesbiancabdriver]

running from knives and charging towards guns

The Irishman (2019) Dir. Martin Scorsese // Among the Red Guns, Carl Sandburg // New Orleans Feather Sculptor Dies of Knife Wounds, Susan Ludvigson