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I've learned many fascinating things about Friedkin from @Vee over the years, and I'll always be glad I decided to watch Sorcerer a few years ago - a true masterpiece, a visceral experience, and one of the greatest examples that you don't have to have outwardly sympathetic characters to still care about them. 

For many years my main Friedkin experience was Boys in the Band, which was one of the very first gay-themed films I saw. The film is more often remembered for the bitter stereotypes, but Friedkin also maintained a sense of tenderness - no matter how bitchy Michael was, the ethereally fatigued Frederick Combs was very touching as his friend and lover, there for him to the end. And in spite of the lack of any real intimacy between them onscreen, I was also very caught up in the love story between Keith Prentice, who didn't want to give up other men, and Laurence Luckinbill, who had given up his entire family for Prentice. The final moment between them where they share a phone declaring their love for each other warmed my heart even amidst the messy future they would share. 

Sorcerer is superb on pretty much every level, a visual feast, the film Friedkin championed the most, and one he should be remembered by. Rarely will you see a film which makes you feel so drawn into a world full of people there is no maudlin attempt to create sympathy for. Nor do, as you sometimes see in movies and shows, they try to make other characters look bad just because they aren't "real" or "cool" or what have you compared to the leading men. These are violent, broken men, killers, but when you watch them lose everything of themselves, over and over, you're still right there with them, to the bitter end. 

 

Edited by DRW50

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LOL I'd forgotten this moment from the great original Exorcist commentary and featurette:

 

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Sadly, I heard this news over the weekend. What a time that was for music in the late 1990s with Timbaland, Magoo, Missy Elliot and Aaliyah. R.I.P.

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