“The greatest films are the ones that leave you not able to explain, but you know that you have experienced something special.” — Robert Altman

It’s his birthday today.

One of my favorite film-makers, but I haven’t written all that much about him. I love my friend Dan Callahan’s piece on Prairie Home Companion.

I did write the booklet essay for the Arrow Films release of Gosford Park, which I re-printed on my site.

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Directors, Movies, On This Day | Tagged | Leave a comment

R.I.P. Tom Noonan

“I don’t think you go to a play to forget, or to a movie to be distracted. I think life generally is a distraction and that going to a movie is a way to get back, not go away.” — Tom Noonan

I wrote about Tom Noonan’s two-hander What Happened Was … for my Film Comment column back in 2019, written and directed by Noonan, starring Noonan and Karen Sillas. I wrote that piece when the film was unavailable anywhere except for a grainy version uploaded to YouTube. When I put up a link to my essay on Twitter someone tagged Scott Macauley (one of the producers) and he Retweeted, which led to this long fascinating conversation on Twitter about this film. So gratifying since it was basically a forgotten film, even though it came out in 1994 and won awards. Like many mid-90s films, it got lost in the technological upgrade at the time. It vanished into the maw: was never released on DVD/blu-ray which meant it never made it to streaming. It is as though it never existed. But I never forgot it.

I remember vividly going to see on its first run and being FLATTENED by it.

Cut to … two years after my Film Comment piece: the film was restored by Oscilloscope, released on DVD, and then streamed – first on Criterion Channel and then other places. Oscilloscope asked me to write the booklet essay which I was thrilled to do. So clearly people were “aware” of my essay. You can purchase the film here.

The DVD release brought a lot of attention to this forgotten film. It even had a limited theatrical run almost 30 years after its original run. For the run at Film Forum, the programming director invited me to interview both Noonan and the brilliant Karen Sillas about the film on Zoom (it was still Covid-ish times). This was a major moment.

As I got ready for the interview, I thought about me as a young woman staggering out of Facets or the Music Box in Chicago, wherever I saw it in the theatre. My reaction wasn’t “that movie was good”. I honestly felt like I got a glimpse of the future. My future. It was not a good vision and I was truly shaken. (I was right to be shaken. Because it’s what happened. Maybe it was a self-fulfilling prophecy but at this point who cares. It happened.) I will never forget emerging from the theatre totally RATTLED. And then I basically couldn’t see it again for another almost 30 years. Which is probably for the best. I was almost afraid to see it again, whether or not I was even physically able to do so.

And there I was, meeting Tom Noonan and Karen Sillas over Zoom, doing what would have been incomprehensible to me back then, getting to participate a little bit in this long overdue release. When the three of us were chatting before the official Zoom started, I said something like, “The timing of this is so wild! I just wrote about this film a year and a half ago – and now it’s being released!” As though it was this huge coincidence. (I’m smart in some ways but dumb in others.)

Tom said, like it was nothing, totally casual, “Well, your piece got the ball rolling. It’s because of your piece that all this happened.”

He didn’t make a big deal of it. He was too dry for that. But he made sure to let me know my Film Comment piece was the spark.

How often do you get that as a writer?

How often do you get confirmation FROM the filmmaker?

Here’s our conversation on Zoom:

One lesson I learned from this experience: I don’t really write about topical news-peggy NOW subjects. Because of this I am often “left out” of the discourse. I am in my own lane. And I learned – again – because I am just this way ANYway – to just not give a shit or worry about what everyone else is doing. I don’t feel a need to weigh in on the big subjects of the current day. So what that’s what everyone else is doing?

Celebrate the art you want to celebrate, even if whatever it is is unavailable to be seen. It exists. Like Linda Loman says, “Attention must be paid.”

“Attention must be paid” is basically my credo – although I didn’t set out consciously to do that.

Tom Noonan’s What Happened Was … remains a peak movie-going experience for me and one of my favorite films ever. It reached me when I needed it, but I also feared it (rightly), and the vision of loneliness it communicated. I love art that does that. Opening Night did the same thing and around the same time, which I wrote about for Liberties. Films that challenge, provoke, and make you look at things you don’t really want to look at or deal with. The art forces the confrontation.

This for me is one of the goals of art. What Noonan created with What Happened Was … will live forever for me as one of the best examples of it.

I am so thankful for Noonan’s artistry, not to mention his lifelong commitment to downtown NY theatre, for What Happened Was… and for making sure I knew my role in the story of its resurrection.

Posted in Actors, Directors, Movies, Personal, RIP | Tagged , | 2 Comments

On Ann Savage in Detour

It’s Ann Savage’s birthday today. I wrote a big piece on Substack about her one-for-the-ages performance in Detour.

Posted in Actors, Movies, On This Day | Tagged , | 1 Comment

“It was the Marines who taught me how to act. After that, pretending to be rough wasn’t so hard.” — Lee Marvin

“You know, as character actors we play all kinds of sex psychos, nuts, creeps, perverts, and weirdos. And we laugh it off, saying what the hell it’s just a character. But deep down inside, it’s you, baby.” — Lee Marvin

It’s Lee Marvin’s birthday today.

In Liberty Valance, Lee Marvin is almost a force of nature. And let’s face it, it’s not easy to be credible as a threat to John Wayne, or the HEAVY opposite Wayne. But Marvin pulls it off. He is deliriously sociopathic and unpredictable. He dominates.

His death scene in the film is magnificent. Watch the phases of it:

His body bolts backward with the blast, he falls down to his knees, he staggers up awkwardly, and then launches into a sideways swan dive.

I love good death scenes because they require faith on the part of the actor. Nobody can tell you what it’s like to die. You have to take a wild guess at the experience. It’s not like love or grief or murdering someone or being a terrorist or being a housewife in the 1950s. You can find out what those things feel like, through research and talking to people. Not death.

In that quote from him is the essence of good acting. Acting is questioning. Every good actor I know is inquisitive, fascinated and curious about other people. They question things. They LISTEN to the answers. They want to understand other people, even the bad people. They KNOW they don’t know everything.

So Lee Marvin ruminates. He knows what is required. He knows the function of the role in the script. He knows it’s John Ford and John Wayne. What is my FUNCTION here? A good actor will know the answer, but will keep asking questions.

For Lee Marvin, Liberty required a leap into the unknown, the speculative, the imaginative: “How bad could I be? What would I do? What could I do?”

Here he is, on working with John Ford:

“It was fun for me to play that dangerous guy. It was a dangerous kind of a character. One of the bad facets of yourself that you blow up. Well, that’s intellectual. I don’t hang out there too much, you know. But still: how bad could I be? What would I do? What could I do? So I think one of the fun things of acting is to put on the bad rags, and get paid for it too, and not kill anybody.”
– Lee Marvin on playing Liberty Valance in The Man Who Shot Liberty Valance

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

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Review: Honey Bunch (2026)

I reviewed Honey Bunch for Ebert.

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“I have already been accused of trying to drown a boatload of wild Irishmen on Aran!” — Robert Flaherty

Today is the birthday of the so-called “father of documentary film” Robert Flaherty, a man whose accomplishments cannot be ignored, and yet these same accomplishments are still, rightfully, debated to this day. Known mostly for his two films about “primitive” man un-touched by progress – 1922’s Nanook of the North, detailing the life of an Inuit fisherman, and 1934’s Man of Aran, showing the wild life of a small family on the wild Aran Islands, located off the West coast of Ireland. Nanook was a hit – surprisingly practically everyone – and it launched an interest in using this new medium of cinema for something other than melodramas and knockabout comedies. Flaherty embedded himself with these communities, and some of his footage is truly extraordinary. But you should probably put documentary in quotation marks. This wasn’t just caught footage. He engineered scenes, sometimes putting the very real people at risk (see the quote in the title). Still: incredible photography, incredible glimpses of a time long gone by. Although not so long as that. I’ve been to the Aran Islands. They really are that wild.

I wrote about Man of Aran for Film Comment, and get into all of this in an in-depth way.

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

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Substack: Interview with author Julia Cooke

Julia Cooke’s Starry and Restless: Three Women Who Changed Work, Writing, and the World comes out at the end of this month and I snagged an advance copy. I fell so in love with the book I reached out to Julia to see if I could interview her. The book is about the writing careers and peripatetic lives of Rebecca West, Martha Gellhorn, and Emily “Mickey” Hahn. To call them war correspondents is accurate but incomplete. These women did it all: reportage, memoirs, novels. Anyone even slightly familiar with my site will know my feelings for Rebecca West: the impact she has had on my life is truly massive. Cooke really contextualizes the world of journalism in the 20s and 30s, and how these women decided – separately – to forge out on their own, when very few women were. I love this book, it comes out on February 24, 2026.

Here’s my interview with Julia Cooke about her book Starry and Restless.

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X Marks the Spot

Teddy Roosevelt’s diary entry for Feb. 14, 1884.

On February 12, his wife Alice gave birth to their daughter. Two days later, on February 14, Alice died. Catastrophically, his mother also died on that day.

Posted in On This Day | 5 Comments

Valentine’s Day Story #2: The Spitball Valentine

In the 6th grade, I was passionately in love with a boy named Andrew Wright. My love for him began to blossom tentatively in the fifth grade, but the sensation exploding in sixth grade was real love, no more kid’s stuff. I could sense the difference like night and day. I didn’t love Andrew Wright because he was cute, or because he was really funny and would crack jokes in Sunday School, or because he picked me to be on his baseball team (although all these things were true). I loved him because he was the epitome of all that was good and right in the world.

We grew up in the same neighborhood, and hung around together since we were little kids. We went to the same church and made our first communions together. We were on the same school bus, we would play tag or baseball in the summer twilights or the two of us would take turns re-enacting Carlton Fisk’s famous homer from 1975, as our mothers called us impatiently in to dinner, we would sneak into the backyard of the house diagonally across the street from mine and pick the raspberries growing there in the side yard, running away at the slightest movement from inside.

It was all very unrequited. We were eleven years old. Half of the fun was just being in love with someone. Nothing ever had to be done about it.

That winter in 6th grade, Andrew and I spent all of our time after school, and on weekends, skating on the frozen pond in the woods near our houses. He would steal my hat, and I would chase him to get it back. We would wrestle for it, sometimes rolling around on the ice, I would get it back, and then he would chase me. It was a private thing we did. We didn’t reference it when we were in school. We didn’t say to each other, “Let’s keep this a secret.” I guess when you’re a kid you understand these things. We became very close, in an unspoken way, in an outdoor way. Our true milieu was on the ice, the grey wintry woods around us, chasing each other on skates, laughing, freezing cold, the bare trees above.

In February, there was a big Valentine’s Day ceremony in our sixth grade class. The custom was to buy Valentine’s Day cards in bulk, the ones with cartoons and silly rubber-stamp sentiments (2 good 2 be 4gotten), and just sign your name. You’d write a card to everyone in your class. So that year, each kid was called up, the cards passed out, and everyone hovered over their pile, fluttering with sixth grade romantic feelings and alarming hormone surges.

Of course, once I settled down with my pile, I searched for Andrew’s card immediately, trying to play it cool in case anyone looked at me, womanly wiles already kicking in. You know, no biggie, whatever, just lookin’ at my Valentines, not looking for one in particular, heck no!

By the time I got to the bottom of the pile, my heart was a tiny hard ball bearing. There was no card from Andrew Wright in my pile. How could he? How could he have not written me a card? After all we had shared? After the frozen pond?

It was my first taste of that particular brand of dread, something I perceive now as adult in nature. My feelings for him were clearly not reciprocated. How could this possibly be? And, worse, what will I do now with all of this feeling I have for him?

It was an entirely new sensation to me, dreadful in its relentless clarity.

I thought I might have to get up and leave the classroom, abuzz with conversation and laughter and gossip, everybody wandering from desk to desk. There was a pile of cards in front of me, but not one from the boy I loved. I needed to get away and be really really sad for a minute, maybe even cry, away from my classmates. Nobody must see my grief. Andrew must never ever know how much I hoped for a Valentine from him.

But then, suddenly, Andrew Wright, on his way somewhere else, walked by my desk and, without stopping or saying a word, dropped what looked like a tiny spitball in front of me. He kept going, didn’t look back. Nobody looking on would have perceived what happened. It was a sly gesture, meant to appear invisible, a camouflage.

Disbelieving, I opened up the spitball.

It was not a store-bought card. It was not a rubber-stamp Hallmark he just signed his name to. It was not generic. It was not, in short, like the card I gave him. (Even then, the intensity of my emotions was such that I felt the need to protect people from it, even the boy I loved. It would be “too much”, right?)

What he dropped on my desk was a tiny piece of white construction paper, ripped off the corner of a larger sheet, and on it was his message in smudgy #2 pencil:

Dear Sheila
Youre a good kid and a good story writer.
Andrew

Even though I was a child, I knew the enormity of what had just happened:

— He couldn’t have given me a cutesy Hallmark Valentine and just signed his name, as per tradition. It wouldn’t have been right. In his young boy’s heart, he knew we were closer than that.

— He needed to express how he felt about me privately. He couldn’t have put the spitball in with all the other cards to be passed out. It would have been a disaster if other kids in the class saw his message. Our frozen-pond twilights were in the card.

— In the note, he didn’t talk about how cute I was, or how he liked my freckles, or any “part” of me. He talked about my qualities and my talents, and how he liked those. We were on the cusp of young adulthood, still little kids, but with adolescence breathing down our necks. In the years to come, much of the attraction of another human being would be pheromonal, and chemistry-driven, based on the overwhelming desire to roll around on a bed with that person. Andrew’s note pre-dates those desires. He probably wouldn’t have written such a note a mere year later, when we were in 7th grade. But here? He likes me because I am a “good kid”, and he likes me because I am a “good story writer.” I did not realize at the time what a gift this would be, to have someone perceive ME, in that way.

— He didn’t use an actual “card” at all. It would not not have been right for us, he knew that, so he made the bold move to go personal. He addressed me. Directly.

The note from Andrew, written before I wore a bra or knew about things like cramps or heartbreak, written during the bleak tail-end of the 1970s, is still the most romantic I have ever received.

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Personal | Tagged | 40 Comments

Valentine’s Day Story #1: An Eyeball and a Dozen Roses

I was living in Chicago, having a grand old time. Let’s face it, I was wild. I had no interest in a serious relationship. There were a couple of men buzzing around me. One of them (sweet, nice, a guy I saw perform improv numerous times) approached me at a party and, after chatting me up for a while in a very humorous and effortless way, asked me out to dinner.

I said Sure!

It ended up being one of the best dates I have ever been on before IN MY LIFE. Not because there were sizzling romantic sparks between us (there weren’t) but because of where he took me to dinner, the people we met there, and what we ended up doing. We went out to eat at a great old-school Greek restaurant (sadly, the joint is now closed). The coffee they gave us at the end of the meal was so thick our spoons could stand up in it. We stayed there for hours, talking and laughing, and then, after 11 or so, the music started. There was a round dance floor in the middle of the tables (like a nightclub you see in 1940s movies, although dilapidated and decaying), and people started dancing. These people were all Greek. These people were all over the age of 70. They danced in a circle, holding hands, shouting and whooping.

We were the youngest people in the place by two generations. When the dancing started, it involved a bunch of 70-year-old Greek women, caked with makeup, jewels glittering on their ears, their fingers, dancing around in a circle, holding hands, gesturing majestically out to us to join their dance, as their 70-year-old Greek husbands, or lovers, stood on the outskirts, throwing money up into the air, throwing money at their women. The air was filled with floating American currency. White-haired women picked up 20 dollar bills and plastered them onto their sweaty necks and sweaty bejewelled cleavage. The atmosphere was sexually charged, more so than any hip dance club filled with 20-somethings like ourselves. This was experienced sexuality on display. It was midnight, 1 a.m. when we finally joined the geriatric set, who showed no signs of slowing down. We danced with them in their circle, as money swirled through the air. We scuffed through the bills on the floor, laughing at how much fun we were having, how awesome it all was.

But that’s a tangent, and not the story I want to tell which is the story of the Eyeball and the Dozen Roses.

During the great date at the late-night Greek place, for some UNFATHOMABLE reason, I told him that my eye doctor had taken a picture of the back of my eyeball.

He: “Your grey eyes look so lovely. I could drown in their sparkley depths.”

Me: “Oh yeah? I should show you a picture of the BACK of my eyeball, pal.”

I have no idea how the subject came up, but he (bless him) seemed completely fascinated by the idea of having a picture taken of the back of his eyeball. The photo of the back of my eyeball was very weird and I was kind of obsessed with it: It looked like a big burning red ball. It looked like a close-up photo of the red storm circling Jupiter in the cold depths of space.

6a00d8341bf7f753ef019b01211ab3970d

The back of my eyeball looked like that, basically.

During the date at the Greek place, he already set up the next date. I’m telling you, he had the basics down! “Okay, so Valentine’s Day is next week. And – I know we don’t know each other at all or anything, but I think it would be fun to have a date on Valentine’s Day. Whaddya say?”

I Zorba-ed my way through the carpet of money, plastering 20 dollar bills on my arms, and said, “That sounds like fun!!”

I’m not big on Valentine’s Day, not being a romantic type (as this story will OBVIOUSLY prove), and also: it just seems like a hell of a lot of pressure. When I see couples out on Valentine’s Day, the men look stressed and cowed, and the women look either vicious or triumphant. It’s not my scene, man. But he and I had such an unbelievably fabulous time on that first date, I thought: It’s cool.

And then I came up with what I considered to be an inspired idea.

Instead of getting him a nice Hallmark-y little Valentine’s Day card, I put the photo of the back of my eyeball into a little red envelope, with his name on it. On the margins of the photo I wrote, “Happy Valentine’s Day.”

I know it is insane.

I cannot defend it.

I am just reporting the facts of the case, which are: I put a photograph of the back of my eyeball into an envelope to give to a guy I barely knew on Valentine’s Day.

I went over to his apartment for our date. He greeted me at the door, so nice, so sweet. He let me in. He got me a drink. We didn’t really know each other at all, but we had had (no contest) the best date EVER. One for the books. We were kind of proud of ourselves for that.

He went into the kitchen, and came back out, holding a dozen red roses for me. For Valentine’s Day.

The second I saw the roses, I remembered the little red envelope in my purse, and I could feel my face getting as beet-red as the back of my own eyeball.

Oh my God. I am such an asshole. I have given him a photograph of the back of my eyeball. I have given him a Polaroid of the inside of my body. What the hell was going through my mind at the time that made me think that was appropriate??? My head was literally burning with embarrassment about my eyeball.

I suppose I could have chosen to not give him the picture of Jupiter’s eternal red storm. But comedy is important to me, and I knew that what was going down here was freakin’ funny.

I said, “Okay, so this is completely embarrassing, seeing as you gave me a beautiful bouquet of roses … but here’s what I got you.”

He opened up the envelope, looked at the Polaroid, and then BURST into laughter. (Thank God.)

Throughout the night he kept making jokes about it, pretending he was describing his Valentine’s date to friends who didn’t know me. He would do both sides of the conversation.

“Hey, man, did you go out on Valentine’s Day?”
“Oh yeah, dude, I went out with this sweet girl I just met.”
“Really? What does she look like?”
Long long pause.
“Oh …. she’s a circle.”

“Dude, you went out on Valentine’s Day? What did the girl look like?”
“Uhm, sort of like a raging fireball.”

Or, when someone would ask him, “What did your date look like?”, he would take out the photograph of the back of my eyeball and, smiling proudly, hand it over.

He ended up being very kind about the whole thing, turning it into a huge joke, which I appreciated.

So that is the mortifying story of a man who gave me a dozen roses and I gave him, in return, a Polaroid of the back of my eyeball.

A Coda:

We ended up going on something like 4 dates, stretched out over an 8 or 9 week period. Obviously there wasn’t a sense of urgency to it all. We weren’t hot for each other, we weren’t burning like the backs of our own eyeballs to see each other. I don’t even think we kissed. Occasionally we would go to a movie, or out to dinner, whatever, but nothing ever really happened beyond that. There were no games, no weirdness, it just was what it was. I would forget for weeks at a time that he existed, and then he would suddenly call me up and invite me to do something. I was dating other people, I’m sure he was too. Whatever. My 20s were great. I had my head on straight about all this shit.

The whole thing ended when I called him up, after another 3 week “break”, and asked him to go to a movie, or something like that.

He sounded very hesitant. I could tell immediately something was up.

So I said, “What’s up?”

He said, “Well … I guess I’m thinking that we should slow down.”

I sat there, on the other end, filled with blankness. I thought nothing, I felt nothing. I went completely dead. There was nothing to say, but it seemed I was required to respond.

And what finally came out of my mouth, was: “I literally do not know how much slower I can go.”

This was greeted by a deafening silence.

And then what came out of my mouth was: “If I go any slower, I think I will stop.”

An even louder silence from the other end.

I wasn’t being bitchy. But I was, God help me, being truthful, and the entropy was already swirling me into its polar vortex and I could not, conceivably, in any biologically-sound carbon-based universe, go any slower than I was already going, without stopping outright.

Needless to say, we stopped.

And to this day, in my group of friends, “If I go any slower, I think I’ll stop” is a favorite phrase. It works well in a multitude of situations.

I ran into him some years back at a party in Chicago, and we had a hilarious conversation. I said, “To this day, that date at the Greek place is one of the best dates I’ve ever gone on.” He said the same was true for him as well.

We avoided mention of the back of my eyeball, which is probably for the best.

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

Posted in Personal | 20 Comments