October 8, 1966 [Seconds]
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--and that song plays in my head every morning--and followed me into the movies, watching Rock Hudson in Seconds, some kind of science fiction parable about the with-it generation outsmarted by squaresville know-how: a space-age fountain of youth turning bored businessmen into smooth cats, with orgies and boss beach-front pads and cool chicks--and a nagging suspicion that it's all plastic--not just the surgery, the mind warped like the camera-lens, everything fish-eyed and curving, as though M.C. Escher had promised you a treat--then pushed you up a flight of stairs, your backwards plummet upside-down, old to young, then gone.
John Frankenheimer's pictures The Manchurian Candidate and Seven Days in May like to consider a world re-molded by science and politics, lies so convincing they replace the truth--to everyone's relief, at least at first--and then of course this kind of thing is punished, in Seconds with agony, an almost literal meat-grinder, the machine in the back room waiting for anyone stupid enough to think he could be Rock Hudson, when all he is, is afraid--in a panic to blot it all out, to paint it black, the ride to work--for thirty seconds or so--a stomach-floating drop into those three words rough on the brick wall, dismembering the poor sap for wanting just a glass of wine and a walk on the beach.
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