Apart, that is, from inexplicably choosing to break his silence, and most likely end his career, with a film that looks like it was financed using whatever change Connery had in his pocket, and made by an all-volunteer crew of sluggish students from a nearby community college. Yet he’s shown no sign of budging from his announced retirement. The Academy Award-winning Connery hasn’t appeared onscreen since The League Of Extraordinary Gentlemen in 2003, and could easily make untold millions for a day’s work on a James Bond, Indiana Jones, or Jack Ryan movie. Yet it would be hard to imagine a final film for a cinematic titan as jaw-droppingly awful, cheap, and misconceived as that of Sean Connery: 2012’s Guardian Of The Highlands (a.k.a.
And it seems safe to assume that fans of the retired Gene Hackman would rather the great actor end his magnificent career with his towering performance in The Royal Tenenbaums, instead of most likely going out with 2004’s almost perversely forgettable Welcome To Mooseport.
Orson Welles could not have made a more spectacular cinematic entrance than Citizen Kane, the debut against which all other debuts will forever be judged, but the same cannot be said of his final onscreen role as an associate of Henry Jaglom in Someone To Love. But finales and debuts don’t always play out the way we’d like them to. Artists might make countless movies over the course of their careers, but they can only make one first movie and one last one. Debuts and finales occupy special places in our culture.
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