It was a moment that defined a lot for me, as strange as that sounds for a middle school Catholic kid in southern Illinois. And then, of course, there was the ending. Perhaps, Richard Gere's greatest cinematic moment. It left us all … breathless, ahhhh.
"Creating People On Whom Nothing is Lost" - An educator and writer in Colorado offers insight and perspective on education, parenting, politics, pop culture, and contemporary American life. Disclaimer - The views expressed on this site are my own and do not represent the views of my employer.
Saturday, April 19, 2014
Richard Gere was just … cool. Breathless, ah!
When I was fourteen years old, and looking for the essence of identity, and seeking the cool that was just the sort of identity you'd expect a fourteen-year-old male to find perfect, I watched Breathless with Richard Gere and Valerie Kaprisky. The 1980s remake of the classic Jean-Luc Goddard film about fatalistic love resonated, for some reason, with me. In the scene below, Jessie watches Monica from the balcony. The scene is beautifully set against the amazing sounds of Philip Glass' piano composition "Openings," with a truly sexy saxophone accompaniment. It was … cool.
It was a moment that defined a lot for me, as strange as that sounds for a middle school Catholic kid in southern Illinois. And then, of course, there was the ending. Perhaps, Richard Gere's greatest cinematic moment. It left us all … breathless, ahhhh.
It was a moment that defined a lot for me, as strange as that sounds for a middle school Catholic kid in southern Illinois. And then, of course, there was the ending. Perhaps, Richard Gere's greatest cinematic moment. It left us all … breathless, ahhhh.
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