“On The Hoof, On The Barrel. ‘On Prime Cut’” By Charles Taylor

“Bonkers” seems to be the euphemism I reflexively reached for in 2020, to the point of overuse, possibly. And yet I shall continue using it, I think. All the other synonyms for “insane” are, like the root word, tilted toward the tragic. If I have to endure the tragic, well, so be it. But where choice is permitted I will eschew the tragic whenever possible. After all, I’m not a kid anymore — “bonkers” it shall be.

Some years ago I picked up Michael Ritchie’s Prime Cut at the Dollar Store. Lee Marvin was the draw, also Gene Hackman and Sissy Spacek. And Prime Cut is . . . one bonkers movie. Beautifully shot, languidly paced, garishly festooned — and utterly, endearingly bonkers.

"And you may ask yourself: 'well ... how did I get here?'"

I’ve re-watched it a bunch of times over the years and it never fails to charm, primarily because Marvin sits at its centre, a placid and eviscerating Shaolin Buddha, serene in a maelstrom of insanity. Do I mix metaphors? I am compelled — this movie is just that bonkers.

Charles Taylor also loves this movie. He does a terrific job of situating its critical stance toward its particular epoch — the epoch of Nixon’s “silent majority,” which sent an entire generation of its corn-fed sons to carry out and be run through the meat-grinder of the Vietnam war.

On The Hoof, On The Barrel: “On Prime Cut” By Charles Taylor — one of those essays/reviews I wish I’d written.

My latest Dollar Store acquisition. Here's hoping it'll be...