New York Times Film Reviews: Best Picture Picks from the 1980s

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Drama Romance War. A Fish Called Wanda Comedy Crime. Edit Cast Cast overview, first billed only: Sam Waterston Sydney Schanberg Haing S. Dith Pran as Dr. Haing S Ngor John Malkovich Al Rockoff Julian Sands Jon Swain Craig T. Consul Bill Paterson MacEntire Athol Fugard Sundesval Graham Kennedy Dougal Katherine Krapum Chey Sarun Tom Bird Military Advisor Monirak Sisowath Phat K. Leader 2nd Village Lambool Dtangpaibool Taglines: Every so often, there is a film that is destined to be talked about and remembered for years to come.

Edit Details Country: UK. Language: English French Khmer Russian. Runtime: min. Sound Mix: Dolby Stereo. Color: Color. Edit Did You Know?

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Trivia Haing Ngor's murder in the open parking garage of his home next to his car is not politically motivated. The murderers wanted the gold locket he swore never to part with because it's where he put his wife's picture after her death. Goofs During the evacuation of the U. Quotes [ first lines ] Sydney Schanberg : Cambodia. To many westerners it seemed a paradise.

Another world, a secret world. But the war in neighboring Vietnam burst its borders, and the fighting soon spread to neutral Cambodia. In I went to cover this side-show struggle as a foreign correspondent of the New York Times. It was there, in the war-torn country side amidst the fighting between government troops and the Khmer Rouge guerrillas, that I met my guide and interpreter, Dith Pran, a man who was to change my life Why are the children so revered?

Q: There are flashes of blue amongst the remains of the victims in the killing fields - what are those blue objects? Q: At the French Embassy, why is a French woman and Cambodian man seen crying hysterically in the background?

Top 10 Movies You'll See at the Oscars 2020

Was this review helpful to you? Yes No Report this. Edit page. Clear your history. IMDb Everywhere. Follow IMDb on. DPReview Digital Photography. The movie turns the year relationship between Daisy, an elderly Jewish white widow from Atlanta, and Hoke, her elderly, widowed black driver, into both this delicate, modest, tasteful thing — a love letter, a corsage — and something amusingly perverse. Hoke treats her pride like a costume. He stalks her with her own new car until she succumbs and lets him drive her to the market.

When she says things are a-changing, he tells her not that much.

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Platonic love blossoms, obviously. And in a wide shot, he stands above her, a little stooped, halfway in, halfway out, moved yet confused. Most of these black-white-friendship adventures were foretold by Mark Twain. Somebody is white Huck and somebody else is his amusingly dim black sidekick, Jim. This movie is just a little more flagrant about it.

Through his record company, Don hires a white nightclub bouncer named Tony Vallelonga. Most people call him Tony Lip. Tony is shocked to discover that Don has never had fried chicken. He also appears never to have seen anybody eat fried chicken, either. But the comedy works only if the black, classical-pop fusion pianist is from outer space and not in a Sun Ra sort of way. It guided black road trippers to stress-free gas, food and lodging in the segregated South. The story of its invention, distribution and updating is an amusing, invigorating, poignant and suspenseful story of an astonishing social network, and warrants a movie in itself.

In the meantime, what does Tony need a Green Book for? He is the Green Book. So what does the money do, exactly? The white characters — the biological ones and somebody supposedly not black enough, like fictional Don — are lonely people in these pay-a-pal movies. Friendship is mutual. That hug is cannibalism. Money buys Don a chauffeur and, apparently, an education in black folkways and culture. Little Richard?


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Their complaints include that he was estranged from neither black people nor blackness. Even without that thumbs-down, you can sense what a particularly perverse fantasy this is: that absolution resides in a neutered black man needing a white guy not only to protect and serve him, but to love him, too. Even if that guy and his Italian-American family and mob associates refer to Don and other black people as eggplant and coal. And, hey, at least Tony never asks Don to eat his fancy dinner in a supply closet. The money buys Don relative safety, friendship, transportation and a walking-talking black college.

Tony learns he really likes black people. And thanks to Tony, now so does Don. Lately, the black version of these interracial relationships tends to head in the opposite direction.

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