They cattily question her fondness for walking (walking!), and ask where she went on her honeymoon (Paris, actually). Once he's behind this fourth wall, he never seems to return. Draper seems like an outsider at his own party, capturing private moments from behind his lens.
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When everyone arrives Don is sent to capture proceedings on his home movie camera.
īack in Ossining the next day, Don wrestles with a flat-pack playhouse in front of a drooling Francine while Betty prepares for Sally's party, to which all their friends and local divorcee Helen Bishop are invited. Scared off, she asks him: "What do you do? Just kiss women all the time, women you're not married to?" Er. Not before Rachel reveals that her mother died in childbirth and Don tells her he's married. His flirtation with Rachel grows and she even gives him some medieval knight cufflinks (you can't see under his armour) before they kiss on the roof of the building against a beautifully shot New York cityscape. Consultancy research into rivals like Sak's, Henri Bendel and Bonwit Teller proved that none of the Sterling Cooper staff have actually visited Menken's so Don sets about righting this wrong. We find him sitting – we presume suicidally (?) – in front of a level crossing before returning home, as if nothing happened, with a new family dog.ĭraper spent the previous day with department store heiress Rachel Menken at her shop, working out a new business plan.
Then, after his daughter Sally's birthday party – during which he drinks half a bottle of whisky and half a fridge of beer – he disappears. First, he's greeted on the train by an old army chum who calls him "Dick Whitman". This episode contains the first hints that all is not as it should be with Donald Draper. He could be Batman for all we know." Harry Crane The film left me feeling giddy, with a big smile on my face."Draper? Who knows anything about that guy? No one's ever lifted that rock. It's the best time I've had in a theater in a long time, and I couldn't help but laugh in appreciation of the ridiculousness that was unfolding before my eyes. George Miller has brought back what we loved about 80's action films while also brining new ideas to the table. It's arguably the greatest action film of the 21st century. 'Mad Max: Fury Road' has set a new standard for action films. And it's glorious to behold thanks to the use of practical effects, incredible stunt work and stunning cinematography. One thing that sets the action in this film apart from a good majority of mediocre action films today is that every action the character's make have an affect on them. George Miller has put together some of the greatest, most memorable action set-pieces ever. Now, how about those action sequences? Incredible - exhilarating - jaw-dropping. But in a film loaded with action, it's nice to see a solid narrative. Is the story something we haven't seen before? Not at all. Yes, the film does fill 80% of its run-time with action sequences, but it never gets in the way of the humanity between these characters that Miller has brought to life. Leading up to the film's release, many speculated if this would be just another action film that lacks a solid narrative and motive, but I am happy to say that this is simply not the case. Along with him is Charlize Theron as Imperator Furiosa - a woman who seeks redemption by helping five young '"wives" escape from the film's antagonist. Tom Hardy takes the reigns this time around as Max - a man of few words who has been hardened by the world in which he lives.
For those who have seen the original films and loved them, you'll fall in love all over again with this film. 'Mad Max: Fury Road' is ridiculous in all the right ways. George Miller returns to live-action filmmaking with one of the greatest action films ever put to screen.
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