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The Hooksexup Insider
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two best friends pursue business and pleasure in NYC.
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Gay man in the Big Apple, full of apt metaphors and dry wit.
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Naughty and philosophical dispatches from the life of a writer-comedian who loves bathtubs and hates wearing underpants.
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Houston neighbors pull back the curtains and expose each other's lives.
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A former Mormon goes wild, and shoots nudes, in San Francisco.
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Hooksexup's TV blog.
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The Screengrab

  • That Guy! Special "Godfather" Edition, Part Five

    This week, "The Godfather--The Coppola Restoration", a DVD and Blu-ray set consisting of newly remastered editions of the three "Godfather" films directed by Francis Ford Coppola, hits the stores. To honor the release of the home video set, That Guy!, the Screengrab's sporadic celebration of B-listers, character actors, and the working famous, is devoting itself this week to the backup chorus of these remarkable films.



    TALIA SHIRE: The world of the Corleones is one that shuts out its women. Their job is to produce and raise the children, and they are basically treated as children, to remain innocent and untainted by knowledge of what their family's prosperity is based on--as if they could really not know, or as if there could be absolution in ignorance. The big exception is Michael's sister Connie, played by Francis Ford Coppola's sister, Talia Shire. (One advantage of this side of the casting is that Coppola instinctively understood how to get guys to act like brothers to a little sister. James Caan says that Coppola would engineer situations on the set, asking Caan to shoo away some bastard who was "bothering" Talia; it was only later that Caan realized that Coppola was psyching him up for the big scene where Caan's Sonny, after seeing bruises on his sister's face, performs a little marriage counseling by tracking down his brother-in-law and stomping a mudhole in his ass.) Maybe because he didn't want to seem to be playing favorites, Coppola treated Shire's character a little negligently in the first film; she doesn't really threaten to rise above the level of a victim and a plot function until her big explosion at the end, screaming that Michael has had her husband killed. But in Part II, she enters the movie like a house on fire, a fabulously turned out slightly-older woman who's going to do whatever it takes to embarrass the family she blames for wrecking her life, even if that means she has to hang out with Troy Donahue.

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  • That Guy! Special "Godfather" Edition, Part Two

    This week, "The Godfather--The Coppola Restoration", a DVD and Blu-ray set consisting of newly remastered editions of the three "Godfather" films directed by Francis Ford Coppola, hits the stores. To honor the release of the home video set, That Guy!, the Screengrab's sporadic celebration of B-listers, character actors, and the working famous, is devoting itself this week to the backup chorus of these remarkable films.



    RICHARD CASTELLANO: Squat, fat, and fleshy, Castellano casts a broad shadow as the loyal Corleone lieutenant Clemenza. Castellano, who is said to have ad-libbed his best-remembered line--the sage advice, "Leave the gun, take the cannoli."-- makes such a strong impression in The Godfather, and is so memorable because of his work in it, that it's kind of dumbfounding to realize how little else he left behind on film. After almost a decade or so of small parts in movies, TV, and the theater, his big break came with a role in the Joseph Bologna-Renee Taylor play Lovers and Others Strangers; he was nominated for a Tony Award for it, then won an Academy Award nomination for Best Supporting Actor when he recreated his performance for the movie version in 1970. His breakout success as Clemenza led to a string of starring roles in failed TV sitcoms (The Super, Joe and Sons) and supporting roles in Godfather knockoffs, such as the TV movies Incident on a Dark Street and Honor Thy Father (based on Gay Talese's nonfiction bestseller) and the short-lived dramatic series The Gangster Chronicles. Castellano maneuvered himself out of what should have been his one sure shot at a triumphant follow-up, in The Godfather, Part II: Francis Ford Coppola wrote him out of the screenplay after being confronted with what he felt were unreasonable demands involving salary, script approval, and other perks.

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