Chicago Movie Quotes

You can live the life you love or you can love the life you live.

to be a Cubs fan is both a birthright and a curse.

Everything about my best friend was misleading to the men of Chicago. She was eccentric and loud, prone to heavy drinking and all-night partying, comfortable with casual hookups, always the funniest and most shocking person in any room, and she posted mostly nude selfies with increasing regularity. She was enigmatic, the closest to the stereotypical male fantasy I’d ever seen outside of a movie, but deep down she was, completely, a romantic.

I could just as easily have taken the train.” He shut his eyes, just long enough for a movie of a Tess-induced train riot to screen on the backs of his eyelids. Fists flying, teeth broken, friendships destroyed as men vied to get closer to her lush body barely covered in that incendiary French maid outfit. And now he was turning hard again.

The only actor who I think probably might have taken a swing at me if he could have would be Burt Reynolds. He used to call Roger and me the Bruise Brothers, out of Chicago.

You may be at paradise or in prison, at the movies or in Chicago, but you are always and unchangeably in Christ.

and the HE stands up. if frenchy's could bottle him up and sell him as porn, they'd probably own half of chicago within a year. he's what would happen after nine months if abercrombie fucked fitch. he's like a movie star, an olympic swimmer, and america's next top male model all at once. he's wearing a silver shirt and pink pants. everything about him sparkles. not my type at all. but...

Movies do not change, but their viewers do. When I saw La Dolce Vita in 1960, I was an adolescent for whom “the sweet life” represented everything I dreamed of: sin, exotic European glamor, the weary romance of the cynical newspaperman. When I saw it again, around 1970, I was living in a version of Marcello’s world; Chicago’s North Avenue was not the Via Veneto, but at 3 a.m. the denizens were just as colorful, and I was about Marcello’s age. When I saw the movie around 1980, Marcello was the same age, but I was 10 years older, had stopped drinking, and saw him not as a role model but as a victim, condemned to an endless search for happiness that could never be found, not that way. By 1991, when I analyzed the film a frame at a time at the University of Colorado, Marcello seemed younger still, and while I had once admired and then criticized him, now I pitied and loved him. And when I saw the movie right after Mastroianni died, I thought that Fellini and Marcello had taken a moment of discovery and made it immortal.

When he got his medical degree from Chicago, attending the ceremony only because of one of his teachers - a kind woman, who had said it would sadden her to have him not there - he sat beneath the full sun, listening to the president of the university say, in his final words to them, 'To love and be loved is the most important thing in life,' causing Kevin to feel an inward fear that grew and spread through him, as though his very soul were tightening. But what a thing to say - the man in his venerable robe, white hair, grandfatherly face - he must've had no idea those words could cause such an exacerbation of the silent dread in Kevin. Even Freud had said, 'We must love or we grow ill.' They were spelling it out for him. Every billboard, movie, magazine cover, television ad - it all spelled it out for him: We belong to the world of family and love. And you don't.

What’s football?” he asked. “It’s chess. Tackle chess. And what’s the quarterback? He’s the king. Take him out, you win the game. So that was our philosophy. We’re going to hit that quarterback ten times. We do that, he’s gone. I hit him late? Fine. Penalize me. But it’s like in those courtroom movies, when the lawyer says the wrong thing and the judge tells the jury to disregard it, but you can’t unhear and the quarterback can’t be unhit.

But it was the figure you cut as an employee, on an employee's footing with the girls, in work clothes, and being of that tin-tough, creaking, jazzy bazaar of hardware, glassware, chocolate, chickenfeed, jewelry, drygoods, oilcloth, and song hits--that was the big thing; and even being the Atlases of it, under the floor, hearing how the floor bore up under the ambling weight of hundreds, with the fanning, breathing movie organ next door and the rumble descending from the trolleys on Chicago Avenue--the bloody-rinded Saturday gloom of wind-bourne ash, and blackened forms of five-story buildings rising up to a blind Northern dimness from the Christmas blaze of shops.

Kaitlin said, "I'm so sick of that 'Greatest Generation' crap. We finally drove a silver nail through the heart of Generation X, only to have this new monster rear its head. And I'm soooooo sick of Tom Hanks looking earnest all the time. They should make a Tom Hanks movie where Tom kills off Greatest Generation figureheads one by one." Bree arrived on cue: "And then he starts killing other generations. He becomes this supernova of hate--all he wants to do is destroy." "Hate clings to him like a rich, lathery shampoo. His lungs secrete it like anthrax foam." Mom lost it. "Stop it! All of you! Tom Hanks is a fine actor who would never hurt anybody. At least not onscreen." I thought, 'Hey, didn't Tom Hanks mow down half of Chicago in "Road to Perdition?"' Well, whatever.

When live entertainment was not available, women delivered the film and ran the projectors for the hundreds of movies that were shown to the soldiers. Frances witnessed the popularity of movies time after time; they were shown in warehouses, airplane hangars, on battered portable screens, or projected against the wall of a building in the village square where townsfolk crammed in around the soldiers. “Charlie and Doug” were the two favorites, but anything showing familiar sights from home—the Statue of Liberty, a Chicago department store, or San Francisco’s Golden Gate—created a sensation and bolstered morale. Toward the end of the war German propaganda films left behind by the retreating army became a prime attraction.30 Frances traveled to and from Paris for a few days at a time, usually arriving on or near the front after a battle to witness doctors and nurses doing what they could for the injured in the shattered villages and burying the dead. She was struck by how thoroughly exhausted the Europeans were after four devastating years of war.

EVANSTON. And I’m still basically there. All the time. Unlike Eddie Vedder, I can’t get out. I work there, my doctor is there, and even though I technically live within the Chicago city limits, if I need to go to the supermarket or the movies, I always think of the Evanston ones first. It’s a trap. No one ever leaves this place. Not kidding, I see my junior-year English teacher at Starbucks every morning, which is down the block from the bagel shop this dude I graduated with just bought. It’s gross. I gotta grow the fuck up.

California during the 1940s had Hollywood and the bright lights of Los Angeles, but on the other coast was Florida, land of sunshine and glamour, Miami and Miami Beach. If you weren't already near California's Pacific Coast you headed for Florida during the winter. One of the things which made Miami such a mix of glitter and sunshine was the plethora of movie stars who flocked there to play, rubbing shoulders with tycoons and gangsters. Sometimes it was hard to tell the difference between the latter two. Miami and everything that surrounded it hadn't happened by accident. Carl Fisher had set out to make Miami Beach a playground destination during the 1930s and had succeeded far beyond his dreams. The promenade behind the Roney Plaza Hotel was a block-long lovers' lane of palm trees and promise that began rather than ended in the blue waters of the Atlantic. Florida was more than simply Miami and Miami Beach, however. When George Merrick opened the Biltmore Hotel in Coral Gables papers across the country couldn't wait to gush about the growing aura of Florida. They tore down Collins Bridge in the Gables and replaced it with the beautiful Venetian Causeway. You could plop down a fiver if you had one and take your best girl — or the girl you wanted to score with — for a gondola ride there before the depression, or so I'd been told. You see, I'd never actually been to Florida before the war, much less Miami. I was a newspaper reporter from Chicago before the war and had never even seen the ocean until I was flying over the Pacific for the Air Corp. There wasn't much time for admiring the waves when Japanese Zeroes were trying to shoot you out of the sky and bury you at the bottom of that deep blue sea. It was because of my friend Pete that I knew so much about Miami. Florida was his home, so when we both got leave in '42 I followed him to the warm waters of Miami to see what all the fuss was about. It would be easy to say that I skipped Chicago for Miami after the war ended because Pete and I were such good pals and I'd had such a great time there on leave. But in truth I decided to stay on in Miami because of Veronica Lake. I'd better explain that. Veronica Lake never knew she was the reason I came back with Pete to Miami after the war. But she had been there in '42 while Pete and I were enjoying the sand, sun, and the sweet kisses of more than a few love-starved girls desperate to remember what it felt like to have a man's arm around them — not to mention a few other sensations. Lake had been there promoting war bonds on Florida's first radio station, WQAM. It was a big outdoor event and Pete and I were among those listening with relish to Lake's sultry voice as she urged everyone to pitch-in for our boys overseas. We were in those dark early days of the war at the time, and the outcome was very much in question. Lake's appearance at the event was a morale booster for civilians and servicemen alike. She was standing behind a microphone that sat on a table draped in the American flag. I'd never seen a Hollywood star up-close and though I liked the movies as much as any other guy, I had always attributed most of what I saw on-screen to smoke and mirrors. I doubted I'd be impressed seeing a star off-screen. A girl was a girl, after all, and there were loads of real dolls in Miami, as I'd already discovered. Boy, was I wrong." - Where Flamingos Fly

Sergeant Pepper was dead. G.I. Joe lived on. George Bush was president, movies stars were dying from AIDS, kids were smoking crack in the ghettos and the suburbs, Muslims were blowing airliners from the skies, rap music ruled, and nobody cared much about the Movement anymore. It was a dry and dusty thing, like the air in the graves of Hendrix, Joplin, and God. She was letting her thoughts take her into treacherous territory, and the thoughts threatened her smiley face. She stopped thinking about the dead heroes, the burning breed who made the bombs full of roofing nails and planted them in corporate boardrooms and National Guard Armories. She stopped thinking before the awful sadness crushed her. The sixties were dead. The survivors limped on, growing suits and neckties and potbellies, going bald and telling their children not to listen to that satanic heavy metal. The clock of the Age of Aquarius had turned, hippies and yippies had become preppies and yuppies. The Chicago Seven were old men. The Black Panthers had turned gray. The Grateful Dead were on MTV, and the Airplane had become a Top-40 Starship. Mary Terror closed her eyes, and thought she heard the noise of wind whistling through the ruins.

But I was stuck--stuck in a delicious, glorious, beautiful, inescapable La Brea tar pit of romance with a rough, rugged, impossibly tender cowboy. As soon as I’d have any thoughts of escaping to Chicago to avoid my parents’ problems, within seconds I’d shoot myself down. Something major would have to happen to pry me out of his arms. Marlboro Man filled my daydreams, filled my thoughts, my time, my heart, my mind. When I was with him, I was able to forget about my parents’ marital problems. On our drives together, preparing our dinners, watching our VHS action movies, all of those unhappy things disappeared from view. This became a crutch for me, an addictive drug of escape. Ten seconds in Marlboro Man’s pickup, and I saw only goodness and light. And the occasional bra-and-panty-wearing grandma mowing her yard.

By mid-summer only Ma Barker remained in Chicago, lost in her jigsaw puzzles. Karpis drove over to visit her one weekend and found she was doing surprisingly well. He and Dock took her to see a movie. To their horror, the film was preceded by a newsreel warning moviegoers to be on the lookout for Dillinger, Nelson, Pretty Boy Floyd, Karpis, and the Barkers. Karpis scrunched low in his seat as their pictures flashed on the screen. “One of these men may be sitting next to you,” the announcer said. Karpis pulled his hat low over his forehead.

The autumn leaves were pulverized and the fragrance of leaf-decay was pleasant. The air was empty but good. As the sun went down the landscape was like the still frame of an old movie on sepia film. Sunset. A red wash spreading from remote Pennsylvania, sheep bells clunking, dogs in the brown barnyards. I was trained in Chicago to make something of such a scant setting. In Chicago you became a connoisseur of the near-nothing. With a clear eye I looked at a clear scene, I appreciated the red sumac, the white rocks, the rust of the weeds, the wig of green on the bluff over the crossroads.

It was awfully quiet. Chicago only gets this quiet when it snows, he thought. And then he flipped open the phone, pressed the voice button, and said “Katherine.” He said it softly, reverently. Five rings and then her voice mail. Hey, it’s Katherine, he heard, and in the background cars rushed by. They’d been walking home together from the RadioShack when she recorded the message. I’m not, uh. And she uhed, he remembered, because he’d goosed her butt as she tried to talk. Uh, at my cell phone, I guess. Leave me a message and I’ll call you back. And he remembered everything about it, and also everything about everything else, and why couldn’t he forget and beep. “Hey, it’s Col. I’m standing in a soybean field outside of Gutshot, Tennessee, which is a long story, and it’s hot. K. I’m standing here sweating like I had hyperhidrosis, that disease where you sweat a lot. Crap. That’s not interesting. But anyway, it’s hot, and so I’m thinking about cold to stay cool. And I was remembering walking through the snow coming back from the ridiculous movie. Do you remember that, K? We were on Giddings, and the snow made it so quiet, I couldn’t hear a thing in the world but you. And it was so cold then, and so silent, and I loved you so much. Now it’s hot, and dead quiet again, and I love you still.” Five minutes later, he was trudging back when his phone began vibrating. He raced back to the spot with good reception and, breathless answered. “Did you listen to the message?” he asked immediately. “I don’t think I need to,” she answered. “I’m sorry, Colin. But I think we made a really good decision.” And he didn’t even care to point out that they hadn’t made a decision, because the sound of her voice felt so good –well not good exactly. It felt like the mysterium tremedum et fascinans, the fear and the fascination. The great and terrible awe.

All television programs are rooted in drama and conflict: good versus evil, cops versus robbers, doctors versus devastating illnesses, space explorers versus evil alien invaders. Siskel & Ebert was the first and perhaps greatest TV show in history where the struggle between the two antagonists was entirely intellectual. Tensions were never resolved with fistfights or shoot-outs, but with conversation and analysis. Hell, for the entirety of their twenty years on television, Roger and Gene clashed and quarreled without ever getting out of their seats-comfy chairs in a Chicago studio designed to look like a cozy movie theater balcony. And yet their verbal sparring matches often contained more suspense than the movies they reviewed.

Two days before our wedding, we were making out in a dark, hazy movie theater. It was one of the most romantic moments of my life. Until Marlboro Man’s whiskers scratched my sensitive face, and I winced in pain. When we returned to my parents’ house, Marlboro Man walked me to the door, his arm tightly around my waist. “You’d better get some sleep,” he said. My stomach jumped inside my body. “I know,” I said, stopping and holding him close. “I can’t believe it’s almost here.” “I’m glad you didn’t move to Chicago,” Marlboro Man whispered, chuckling the soft chuckle that started all this trouble in the first place. I remember being in that same spot, in that same position, the night Marlboro Man had asked me not to go. To stay and give us a chance. I still couldn’t believe we were here.

Still lying on the floor of my bedroom, I took a deep breath and looked at my hand. I felt strange and tingly, almost separated from my body. I wasn’t really here, I told myself. I was in Chicago, and I was watching all of this happen to someone else. It was a movie, maybe on the big screen, maybe cable. But it couldn’t be my life…could it? My phone rang again. It was Marlboro Man. “Hey,” he said. I heard the diesel engine rattling in the background. “I just dropped Mike at the mall.” “Hi,” I said, smiling. “Thanks for doing that.” “I just wanted to tell you that…I’m happy,” he said. My heart leapt out of my chest and shot through the roof. “I am, too,” I said. “Surprised…and happy.” “Oh,” he continued. “I told Mike the news. But he promised he wouldn’t tell anybody.” Oh, Lord, I thought. Marlboro Man obviously has no idea who he’s dealing with.

In under two weeks, and with no budget, thousands of college students protested the movie on their campuses nationwide, angry citizens vandalized our billboards in multiple neighborhoods, FoxNews.com ran a front-page story about the backlash, Page Six of the New York Post made their first of many mentions of Tucker, and the Chicago Transit Authority banned and stripped the movie’s advertisements from their buses. To cap it all off, two different editorials railing against the film ran in the Washington Post and Chicago Tribune the week it was released. The outrage about Tucker was great enough that a few years later, it was written into the popular television show Portlandia on IFC. I guess it is safe to admit now that the entire firestorm was, essentially, fake. I designed the advertisements, which I bought and placed around the country, and then promptly called and left anonymous complaints about them (and leaked copies of my complaints to blogs for support). I alerted college LGBT and women’s rights groups to screenings in their area and baited them to protest our offensive movie at the theater, knowing that the nightly news would cover it. I started a boycott group on Facebook. I orchestrated fake tweets and posted fake comments to articles online. I even won a contest for being the first one to send in a picture of a defaced ad in Chicago (thanks for the free T-shirt, Chicago RedEye. Oh, also, that photo was from New York). I manufactured preposterous stories about Tucker’s behavior on and off the movie set and reported them to gossip websites, which gleefully repeated them. I paid for anti-woman ads on feminist websites and anti-religion ads on Christian websites, knowing each would write about it. Sometimes I just Photoshopped ads onto screenshots of websites and got coverage for controversial ads that never actually ran. The loop became final when, for the first time in history, I put out a press release to answer my own manufactured criticism: TUCKER MAX RESPONDS TO CTA DECISION: “BLOW ME,” the headline read.

— The opening argument was one of Devlin-Brown’s favorite parts of a trial. In a case like this, it was sometimes all that mattered. The U.S. Attorney’s Office had a formula for it, a system that was passed down through generations of prosecutors. It started with what they called “the grab”—a quick, two-minute summary of the case, meant to capture the jury’s attention. The grab could begin in one of two ways. The first was with a big thematic idea, as in, “This is a case about greed.” Devlin-Brown preferred what he called the “It was a dark and stormy night” beginning, which dropped the jurors right into a dramatic scene. Just like in a movie. On this day, his version began with, “It was July of 2008.” He spoke in a gentle, even voice. “Mathew Martoma, the defendant, was one of about a thousand people packed into a crowded Chicago convention hall waiting for an expert on Alzheimer’s disease to take the stage.” Sidney Gilman, he explained, was at an international Alzheimer’s conference to unveil the results of a hotly anticipated drug trial. The results of

Blood typing had a second, unanticipated benefit: establishing parenthood. In a famous case in Chicago in 1930, two sets of parents, the Bambergers and the Watkinses, had babies in the same hospital at the same time. After returning home, they discovered to their dismay that their babies were wearing labels with the other family’s name on them. The question became whether the mothers had been sent home with the wrong babies or with the right babies mislabeled. Weeks of uncertainty followed, and in the meantime both sets of parents did what parents naturally do: they fell in love with the babies in their care. Finally, an authority from Northwestern University with a name that might have come out of a Marx Brothers movie, Professor Hamilton Fishback, was called in, and he administered blood tests to all four parents, which at the time seemed the very height of technical sophistication. Fishback’s tests showed that both Mr. and Mrs. Watkins had type O blood and therefore could produce only a type O baby, whereas the child in their nursery was type AB. So, thanks to medical science, the babies were swapped back to the right parents, though not without a lot of heartache. —

I’d gone on dates with every flavor of cute boy under the sun. Except for one. Cowboy. I’d never even spoken to a cowboy, let alone ever known one personally, let alone ever dated one, and certainly, absolutely, positively never kissed one--until that night on my parents’ front porch, a mere couple of weeks before I was set to begin my new life in Chicago. After valiantly rescuing me from falling flat on my face just moments earlier, this cowboy, this western movie character standing in front of me, was at this very moment, with one strong, romantic, mind-numbingly perfect kiss, inserting the category of “Cowboy” into my dating repertoire forever. The kiss. I’ll remember this kiss till my very last breath, I thought to myself. I’ll remember every detail. Strong, calloused hands gripping my upper arms. Five o’clock shadow rubbing gently against my chin. Faint smell of boot leather in the air. Starched denim shirt against my palms, which have gradually found their way around his trim, chiseled waist… I don’t know how long we stood there in the first embrace of our lives together. But I do know that when that kiss was over, my life as I’d always imagined it was over, too. I just didn’t know it yet.

I will never forget the sensation that plagued my body as my husband’s business partner told me of Jeff’s fate that day. As his words reached my ears, I found myself in a fog of utter disbelief and paralyzing fear. It was almost as if I was part of a movie. As his business partner was telling me what happened, life began to move in slow motion and I was trying to convince myself that what I was hearing wasn’t true. “Jeff has been in a horrible car accident and has been airlifted to Advocate Christ Hospital,” he said. I couldn’t believe what I was hearing. Not my Jeff. There’s no way. The tears came without warning. It was as if a dam broke on a lake I didn’t know existed. This wasn’t really happening. We were a young couple with two small children living the American dream. We had everything going for us. This couldn’t really be happening to me. To us. To him. I had to force myself to focus on his words, “Wait, where was he taken again?” I asked. He repeated the name, but it didn’t sound any more familiar. “Where is that?” I asked. “In Chicago,” he said. Why Chicago? I wondered. I thanked him and somehow managed to end the conversation without completely losing it. God kept me focused and at peace. I still don’t remember how I got everything done that day.

Desperately. Tally searched her brain for a prayer. Any prayer. Now I lay me down to sleep... No! Not that one. Hail Mary something, something. She wasn't Catholic. Oh, God, she should've gone to church more often. And Jesus, now definitely wasn't the time to blaspheme. Fingers completely numb from gripping the chair, she kept her gaze pinned, with manic attention, on the pirate's large, strong hands on the wheel. Backlit eerily by the red lights on the instrument panel, those few teeny, tiny red lights were all that held her together. She hated the dark. Hated, hated, hated it. She wasn't that fond of roller coasters, either, and this was about seven hundred times worse. Putting the two together was overkill and proved that God had a sense of humor. Maybe she didn't want to pray after all. The boat hit a trough with the force of a ten-ton cement truck slamming into a granite mountain. Every bone in her body jarred. Dear God, how long could the pirate ship last in this onslaught? Her brain pulled up every water movie she'd ever seen. Titanic. The Abyss. The Deep. Jaws... Oh, Lord. The Perfect Storm... There were things she still wanted to do in her life. Off the top of her head she couldn't think of a one right now. But topping her list was dying in her own bed in Chicago. Dry. Of old age.

We did the dishes and talked--about the cattle business, about my job back in L.A., about his local small town, about family. Then we adjourned to the sofa to watch an action movie, pausing occasionally to remind each other once again of the reason God invented lips. Curiously, though, while sexy and smoldering, Marlboro Man kept his heavy breathing to a minimum. This surprised me. He was not only masculine and manly, he lived in the middle of nowhere--one might expect that because of the dearth of women within a twenty-mile range, he’d be more susceptible than most to getting lost in a heated moment. But he wasn’t. He was a gentleman through and through--a sizzling specimen of a gentleman who was singlehandedly introducing me to a whole new universe of animal attraction, but a gentleman, nonetheless. And though my mercury was rising rapidly, his didn’t seem to be in any hurry. He walked me to my car as the final credits rolled, offering to follow me all the way home if I wanted. “Oh, no,” I said. “I can get home, no problem.” I’d lived in L.A. for years; it’s not like driving alone at night bothered me. I started my car and watched him walk back toward his front door, admiring every last thing about him. He turned around and waved, and as he walked inside I felt, more than ever, that I was in big trouble. What was I doing? Why was I here? I was getting ready to move to Chicago--home of the Cubs and Michigan Avenue and the Elevated Train. Why had I allowed myself to stick my toe in this water? And why did the water have to feel so, so good?

Was that not the effect behind my daily reading of the paper? In their businesses and politics, their taverns, movies, assaults, divorces, murders, I tried continually to find clear signs of their common humanity. It was undeniably to, my interest to do this. Because I was involved with them; because, whether I liked it or not, they were my generation, my society, my world. We were figures in the same plot, eternally fixed together. I was aware, also, that their existence, just as it was, made mine possible. And if, as was often said, this part of the century was approaching the nether curve in a cycle, then I, too, would remain on the bottom and there, extinct, merely add my body, my life, to the base of a coming time. This would probably be a condemned age. But... it might be a mistake to think of it in that way. Mists faded and spread and faded on the pane as I breathed. Perhaps a mistake. And when I thought of the condemned ages and those unnamed, lying in their obscurity, I wondered. How did we know how it was? In all principal ways the human spirit must have been the same. Good apparently left fewer traces. And we were coming to know that we had misjudged whole epochs. Besides, the giants of the last century had their Liverpools and Londons, their Lilles and Hamburgs to contend against, as we have our Chicagos and Detroits. And there might be a chance that I was misled, even with these ruins before my eyes, sodden, themselves the color of the fateful paper that I read daily. I have spoken of an "invariable question." But the fact is that it had for many months been not in the least invariable. These were things I would have thought last winter, and now, in their troubled density, they served only to remind me of the sort of person I had been. For a long time "common humanity" and "bring myself to concede" had been completely absent from my mind. And all at once I saw how I had lapsed from that older self to whom they had been so natural.

I’d been reflecting on this--the drastic turn my life and my outlook on love had taken--more and more on the evenings Marlboro Man and I spent together, the nights we sat on his quiet porch, with no visible city lights or traffic sounds anywhere. Usually we’d have shared a dinner, done the dishes, watched a movie. But we’d almost always wind up on his porch, sitting or standing, overlooking nothing but dark, open countryside illuminated by the clear, unpolluted moonlight. If we weren’t wrapping in each other’s arms, I imagined, the quiet, rural darkness might be a terribly lonely place. But Marlboro Man never gave me a chance to find out. It was on this very porch that Marlboro Man had first told me he loved me, not two weeks after our first date. It had been a half-whisper, a mere thought that had left his mouth in a primal, noncalculated release. And it had both surprised and melted me all at once; the honesty of it, the spontaneity, the unbridled emotion. But though everything in my gut told me I was feeling exactly the same way, in all the time since I still hadn’t found the courage to repeat those words to him. I was guarded, despite the affection Marlboro Man heaped upon me. I was jaded; my old relationship had done that to me, and watching the crumbling of my parents’ thirty-year marriage hadn’t exactly helped. There was just something about saying the words “I love you” that was difficult for me, even though I knew, without a doubt, that I did love him. Oh, I did. But I was hanging on to them for dear life--afraid of what my saying them would mean, afraid of what might come of it. I’d already eaten beef--something I never could have predicted I’d do when I was living the vegetarian lifestyle. I’d gotten up before 4:00 A.M. to work cattle. And I’d put my Chicago plans on hold. At least, that’s what I’d told myself all that time. I put my plans on hold. That was enough, wasn’t it? Putting my life’s plans on hold for him? Marlboro Man had to know I loved him, didn’t he? He was so confident when we were together, so open, so honest, so transparent and sure. There was no such thing as “give-and-take” with him. He gave freely, poured out his heart willingly, and either he didn’t particularly care what my true feelings were for him, or, more likely, he already knew. Despite my silence, despite my fear of totally losing my grip on my former self, on the independent girl that I’d wanted to believe I was for so long…he knew. And he had all the patience he needed to wait for me to say it.

I took a shower after dinner and changed into comfortable Christmas Eve pajamas, ready to settle in for a couple of movies on the couch. I remembered all the Christmas Eves throughout my life--the dinners and wrapping presents and midnight mass at my Episcopal church. It all seemed so very long ago. Walking into the living room, I noticed a stack of beautifully wrapped rectangular boxes next to the tiny evergreen tree, which glowed with little white lights. Boxes that hadn’t been there minutes before. “What…,” I said. We’d promised we wouldn’t get each other any gifts that year. “What?” I demanded. Marlboro Man smiled, taking pleasure in the surprise. “You’re in trouble,” I said, glaring at him as I sat down on the beige Berber carpet next to the tree. “I didn’t get you anything…you told me not to.” “I know,” he said, sitting down next to me. “But I don’t really want anything…except a backhoe.” I cracked up. I didn’t even know what a backhoe was. I ran my hand over the box on the top of the stack. It was wrapped in brown paper and twine--so unadorned, so simple, I imagined that Marlboro Man could have wrapped it himself. Untying the twine, I opened the first package. Inside was a pair of boot-cut jeans. The wide navy elastic waistband was a dead giveaway: they were made especially for pregnancy. “Oh my,” I said, removing the jeans from the box and laying them out on the floor in front of me. “I love them.” “I didn’t want you to have to rig your jeans for the next few months,” Marlboro Man said. I opened the second box, and then the third. By the seventh box, I was the proud owner of a complete maternity wardrobe, which Marlboro Man and his mother had secretly assembled together over the previous couple of weeks. There were maternity jeans and leggings, maternity T-shirts and darling jackets. Maternity pajamas. Maternity sweats. I caressed each garment, smiling as I imagined the time it must have taken for them to put the whole collection together. “Thank you…,” I began. My nose stung as tears formed in my eyes. I couldn’t imagine a more perfect gift. Marlboro Man reached for my hand and pulled me over toward him. Our arms enveloped each other as they had on his porch the first time he’d professed his love for me. In the grand scheme of things, so little time had passed since that first night under the stars. But so much had changed. My parents. My belly. My wardrobe. Nothing about my life on this Christmas Eve resembled my life on that night, when I was still blissfully unaware of the brewing thunderstorm in my childhood home and was packing for Chicago…nothing except Marlboro Man, who was the only thing, amidst all the conflict and upheaval, that made any sense to me anymore. “Are you crying?” he asked. “No,” I said, my lip quivering. “Yep, you’re crying,” he said, laughing. It was something he’d gotten used to. “I’m not crying,” I said, snorting and wiping snot from my nose. “I’m not.” We didn’t watch movies that night. Instead, he picked me up and carried me to our cozy bedroom, where my tears--a mixture of happiness, melancholy, and holiday nostalgia--would disappear completely.

She has stated that there are several 'auteur' directors she'd like to work with - including Danny Boyle, Darren Aronofsky, and Terrence Malick. But, as if to prove her lack of movie buff credentials, in an interview with Time Out Chicago, when quizzed about her favourite Malick movie she said, 'Maybe if you name some, I'll remember which ones I've seen.' She still had a little to learn about massaging the egos of the Hollywood elite!

The officers had a ghoul pool, in which they bet on how many bodies eventually would be recovered. The estimates ranged from five to twenty-four. Everyone was low. Taking a cue from a movie just opening in Chicago theaters, they got themselves T-shirts emblazoned with “The Body Snatchers, No. 803640,” the six digits referring to the case number, with large numerals “27,” signifying the body count, on the other side. (That number also proved low.)

I ran into Chris Pratt a few months later. He was surrounded by reporters and focused on selling a movie, but he shouted when he saw me: "Hey, dude! The Cubs! The Cubs! Our prayer worked!

Richard Linklater: First, we became a midnight film. We would play for an entire year at certain theaters. They would turn it into a mini-concert where you go in the theater and you could smell the pot smoke. Jason London: I heard stories about how we'd kicked Rocky Horror out of its venues because people wanted to get in to watch Dazed and Confused instead. Anthony Rapp: There was a thing called the Brew and View in Chicago where they served beer and put up a screen at different venues. And I don't know if it was as orchestrated as a Rocky Horror thing but every time Wiley [Wiggins] touched his nose, they drank [me: yeah we did]. Wiley Wiggins: That will kill you! Don't do that!

A unpleasant Mob antecedent was the catalyst: Willie Bioff, one of the most remarkable – and evil – walk-on players in the history of Hollywood, had the mission to control the movie unions. Bioff was a clever kid. At nine years old on the streets of Chicago, he was on commission (plus tips) from a group of brothels in the Levee. This red-light district on the Near South Side of the city was twenty square blocks of illicit relaxation: there were 500 bars, the same number of whorehouses, about 50 pool rooms and a dozen or so gambling joints. There were peep shows and cocaine parlours. It was an area where any pleasure or disease was cheaply available. Hollywood was home from home, stars were easy to extort and compromise – drugs, sex, illegal dalliances and perversions – but there were the potentially damaging headlines if matters went wrong.

What had happened, for instance, at one of the war's biggest battles, the Battle of Midway? It was in the Pacific, there was something about aircraft carriers. Wasn't there a movie about it, one of those Hollywood all-star behemoths in which a lot of admirals look worried while pushing toy ships around a map? (Midway, released in 1976 and starring Glenn Ford, Charlton Heston, and -- inevitably -- Henry Fonda.) A couple of people were even surprised to hear that Midway Airport was named after the battle, though they'd walked past the ugly commemorative sculpture in the concourse so many times. All in all, this was a dispiriting exercise. The astonishing events of that morning, the "fatal five minutes" on which the war and the fate of the world hung, had been reduced to a plaque nobody reads, at an airport with a vaguely puzzling name, midway between Chicago and nowhere at all.

The maneless male lions—eventually shot by a railroad engineer, Colonel John H. Patterson (portrayed by Val Kilmer, Boulder’s Hamlet, in the 1996 movie The Ghost and the Darkness)—now reside, stuffed, at Chicago’s Field Museum, where one can purchase souvenir mugs, posters, and T-shirts displaying the killers in an innocuous, colorful, Lion King–style graphic. Leopards,

The problem with crack dealing is the same as in every other glamour profession: a lot of people are competing for a very few prizes. Earning big money in the crack gang wasn’t much more likely than the Wisconsin farm girl becoming a movie star or the high-school quarterback playing in the NFL. But criminals, like everyone else, respond to incentives. So if the prize is big enough, they will form a line down the block just hoping for a chance. On the south side of Chicago, people wanting to sell crack vastly outnumbered the available street corners.

We shared deep passions. John Hughes movies, the New Romantics, the Chicago Bears. We both loved chicken-flavor Ramen and hated the shrimp flavor. We liked thin-crust pizza over deep dish, and wine over beer, and gin over vodka.

1919, race riots broke out in Chicago and a dock workers’ strike hit New York; the eight-hour workday was instituted nationally; President Woodrow Wilson won the Nobel Peace Prize and presided over the first meeting of the League of Nations in Paris; the Red Army took Omsk, Kharkov, and the Crimea; Mussolini founded the Italian fascist movement; Paderewski became Premier of Poland. Henri Bergson, Karl Barth, Ernst Cassirer, Havelock Ellis, Karl Jaspers, John Maynard Keynes, Rudolf Steiner—indelible figures—were all active in their various spheres. Short-wave radio made its earliest appearance, there was progress in sound for movies, and Einstein’s theory of relativity was borne out by astrophysical experiments. Walter

This was a very self-indulgent scene of mine. This is the Chicago Art Institute which when I was in high school was a place of refuge for me. I went there quite a bit, I loved it, I knew all the paintings. And this was a chance for me to go back into this building and show all the paintings that were my favorites. … Cameron is looking at that little girl, which again is a mother and a child. The tenderness of a mother and child, which he didn't have. The closer he looks at the child, the less he sees, of course, with this style of painting. Or any style of painting. The more he looks at it, there’s nothing there. And then this painting (Seurat’s ‘A Sunday Afternoon…’), which I always thought was like making the movie. Pointillist style, which if you’re very very close to, you don’t have any idea what you’ve made, until you step back from it. The closer he looks at the child, the less he sees … The more he looks at it, there’s nothing there. He fears that the more you look at him the less you see. There isn’t anything there. That’s him.

The muezzin’s call to prayer punctuated the days, weddings and funerals followed the faith’s prescribed rituals, activities slowed down during fasting months, and pork might be hard to find on a restaurant’s menu. Otherwise, people lived their lives, with women riding Vespas in short skirts and high heels on their way to office jobs, boys and girls chasing kites, and long-haired youths dancing to the Beatles and the Jackson 5 at the local disco. Muslims were largely indistinguishable from the Christians, Hindus, or college-educated nonbelievers, like my stepfather, as they crammed onto Jakarta’s overcrowded buses, filled theater seats at the latest kung-fu movie, smoked outside roadside taverns, or strolled down the cacophonous streets. The overtly pious were scarce in those days, if not the object of derision then at least set apart, like Jehovah’s Witnesses handing out pamphlets in a Chicago neighborhood.

Xanthi had passed through Union Station’s vast Beaux Arts atrium, the Great Hall, magnificent and scary to me as a kid...There she stood in black garments, individual, resilient. Her green eyes anomalous to the Peloponnesus, more common among mountain Greeks. She was like that one blade of grass my dad’s lawnmower couldn’t cut, no matter how many times he went over it. Almost no gray hairs glinted among her dark ones tucked back into a tiny bun. She stepped toward us, pulling out of a movie, away from the first decades of a century pockmarked by war, famine, earthquakes, and a Great Depression denting the hubris of Union Station, colossal behind her.

If Reagan’s story were fiction, it would seem absurdly pat and overdetermined, the irony too heavy-headed. Out of college during the Depression, he went straight to work for the new fantasy-industrial complex. In a Des Moines radio studio, he regularly pretended he was at Wrigley Field in Chicago, performing fake play-by-play broadcasts of Cubs games based on real-time wire-service descriptions. He visited Hollywood and got his first movie role — playing a radio announcer. During World War II he was an officer in the army — serving in the First Motion Picture Unit, stationed in Burbank and Culver City, where he starred in "This Is the Army," a movie in which he played a corporal who stages a piece of musical theater called "This Is the Army.

On the wall is a large blow up photo of Humphrey Bogart.” I only picked Bogart because there was a popular poster of him selling around at that time. It was logical then, having the movie fantasies, that Bogart would be in one, and I conveniently used him over and over as I wrote and he became a major character in the story. I wrote and rewrote in that Chicago hotel room. I ate ribs with my friends John and Jean Doumanian. In those days, Chicago had a joint called the Black Angus that had ribs the taste of which gave life meaning you couldn’t get from religion, psychoanalysis, or great art. At that age I ate ribs,

A far greater crisis occurred while I was working with kids in a Chicago street gang in 1970. My friend Jimmy and I were attacked. One of the assailants beat me up. The other two made Jimmy kneel down, and then they shot him through the head. Jimmy was a former gang member who had turned his life around and was planning to get married. He had asked me to bring him and his girlfriend to a priest for confession just two weeks before he was killed. My efforts in the neighborhood came to a terrible end with his murder. For me, this tragedy was followed by nightly dreams of being chased by people trying to kill me. My attempts to use a method of dream analysis to overcome these nightmares merely drew me into the New Age movement for a while. I finally experienced an emotional healing while watching a movie in which a man was murdered in the same way as Jimmy. Following the movie I cried very bitterly, an emotional catharsis that ended the nightmares.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

How could I let myself drift off like I was the star of a candy-coated Hallmark movie? What do I think my life is? A re-make of Cinderella where I meet my Prince Charming?