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And here comes Senator Finisterre whose fine state is, I regret to say, clogging the nation's arteries with Vermont cheddar cheese.If we want to talk numbers, how about the millions of people dying of heart attacks?Perhaps Vermont cheddar should come with a skull and crossbones. Naylor, we are here to discuss cigarettes -- not planes, not cars -- cigarettes. It doesn't come off the side of a cigarette carton.
Fabienne and Lumir don’t exchange tarty, only-in-the-movies dialogue, and there’s few overt emotional catharses; instead, they pick at each other subtly and obsessively, like family members do in real life, until the picking occasionally boils over into hostility.
In extraordinary performances, Deneuve and Binoche communicate the love that Fabienne and Lumir have for another, which is never more obvious than when the mother and daughter are deriding one another’s careers, past neglects, or choice in men.
The tactility of earlier Kore-eda imagery has been traded for a softer, more luscious, nevertheless melancholic dream world.
The fraught quality of current French life, of the ongoing divide between rich and poor that increasingly hounds modern existence around the world, is encapsulated in by a macabre and amusing detail: the mansion that serves as the film’s predominant setting, and which is said to stand in front of an unseen prison.
A teenage chemotherapy patient is dubbed “Cancer Boy,” William H.
Macy’s anti-smoking Vermont senator Ortolan Finistirre (yes, that’s really his name)—intent on smacking skull-and-crossbones labels on all cigarette packs—wears Birkenstocks and has a desk covered in maple syrup bottles, Katie Holmes’s intrepid journalist Heather Holloway sleeps with her sources for inside information, and Rob Lowe’s movie producer is more than happy, for the right price, to get in bed with Big Tobacco (as well as a Middle Eastern sultan known as “The Hitler of the South Pacific”) to depict smoking in movies.In this moment, we understand Lumir is also an actress, a gifted one, though her issues with her mother have kept her on the sidelines writing screenplays.There’s a juicy meta concept at the center of that Kore-eda doesn’t quite bring to fruition.When you're there, you're not Ron Goode, a guy whom your friends probably like, you're Senator Finisterre's aide and your name really doesn't matter. So when Ron Goode acts like a complete asshole on The Joan Lunden Show, I'm being an asshole on The Joan Lunden Show. When you're looking for a cancer kid, he should be hopeless. I mean -- show of hands -- Who out here thinks that cigarettes aren't dangerous?Nick: Well, the real demonstrated #1 killer in America is cholesterol.Thank You for Smoking is a 2006 comedy-drama film that is a satirical look at the machinations of Big Tobacco's chief spokesman, Nick Naylor, who spins on behalf of cigarettes while trying to remain a role model for his twelve-year-old son. [his phone beeps] Oh, thats London calling, it's 7 am in the old empire. We're here to examine the possibility of a warning label on cigarettes. Naylor, I have to ask you out of formality, do you believe that smoking cigarettes, over time, can lead to lung cancer and lead to other respiratory conditions such as emphysema. In fact, I think you'd be hard pressed to find someone who really believes that cigarettes are not potentially harmful. One line of dialogue: "Thank God we created the, you know, whatever device." You ought to make a product to tie in with the movie, such as a new brand of cigarettes. In all my dealings with him he's been a very reasonable and sensitive guy, he's fun, you'll like him. I believe that we need freedom and choice when it comes to our ice cream, and that, Joey Naylor, that is the definition of liberty. Naylor is not here to testify on the goings on of the Academy of Tobacco Studies.Such a detail also, more pressingly, suggests that legendary film actress Fabienne Dangeville (Catherine Deneuve) is past her prime, being pushed out and aside by an encroaching, less hopeful new world.Like anyone who’s enjoyed vast success in a brutal profession, Fabienne has left figurative bodies in her wake, especially her daughter, Lumir (Juliette Binoche), who, of course, resents Fabienne’s self-absorption.