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These underline the ways that nostalgia, performance, and narcissism inevitably intersect in any life's creation and recreations. As Morgan puts it, "I know some things about him that are very distressing.
And you wouldn't want to know them about him." She's probably right.
Chuck is at first astounded by this chutzpah, but then, after a couple of successes on his own, he also starts to seek out the charge of an assignment.
He calls Byrd, as urgently as any junkie: "I need something, man."Again, this speaks doubly to the culture of addictions that produces and is produced by a personality like Barris.
" she exults, "Come back there and be my old man with me! She's finally willing to accept anything from her man but the truth, which, as he has it, is just too ridiculous to believe.
Less a character than a marker of Chuck's changes (she can't believe his spy tales), Penny reflects his other self, perhaps happy.
If his undercover self isn't quite real, the creation is elaborate enough to seem real. His desperation to please, to be loved, to do right, and to get off is all of a piece.
The film's jaunty, colorful slip-slidey approach interweaves fictions and facts, dreams and losses.
He stands at attention, naked and alone in a dreary hotel room.
In addition, I have murdered 33 human beings."Mm-hmm.