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Filmskimming.

BY DAVID KOEHN

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 Morning, the wallpaper is from that scene
 In Barton Fink's Hollywood flat. Next
 To me is a woman, Mimi, from Polanski's film
 Bitter Fruit. She is his wife. My cock is now
 Jean-Hugues Anglade's in Beatrice Dalle, the opening
 From Betty Blue. Reef, her body

 Is the shore, salt-stained, at low tide, the bodies
 Of the actors outshone by the scenic
 Background in The TempestOnly Angels Have Wings opens
 With Grant in baggy shirt, rolled up trousers, bandana, next
 To Jean Arthur. Grant in his huge cane-cutter's hat, now
 That is discomfort. I am post-coital. In the film

 Smoke, the camera draws down on Keitel, the film
 Doesn't cut nor pan as Keitel's body
 Holds us to the story of the blind woman. Now
 She is telling me a story about a blind woman, a scene
 Where a dog leads her into a busy street, next
 Cars rush past her, one stops, its door opens.

 I ask her if there isn't a film that opens
 Just that way. I am James Spader in the film
 Sex, Lies and Videotape. Inquisitor. Next, 
 Cut to breakfast, I am Stansfield's body
 At the end of Leon. Or am I Hackman in the film
 The Firm, overtaking Tripplehorn? Now

 As I lift the coffee to my lips, And Now
 For Something Completely Different
 opens
 At the table. The bank robber in a lingerie shop scene
 Lifts her spirits. The morning light is a gold film
 On the day's spot, like the stage from Headless Body
 In Topless Bar
. I don't now what will come next. 

 Suddenly a scene from a reverse The Next 
 Best Thing
. She wanted me as a lover, but now
 She wants a woman. I guess a body is not just a body
 Coming through the rye. It is 3 p.m.. J.D. Salinger opened
 Uncle Wiggily in Connecticut at 3 p.m. The film
 My Foolish Heart based on it is a mess of scenes, 

 Scenes that so incensed Salinger, he next
 Had his will indicate no films be made now or ever. 
 The plot of Split Wide Open. Our bodies. This poem. 

 

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