One of the saddest news that has marred the sequel to Sex and the City (And just like that, currently on Sky and NOW) has been the disappearance, last September, of Willie Garson. Stanford’s beloved face, Carrie’s best friend, died right during filming. The 57-year-old actor had time to shoot the first three episodes, which are added to the approximately thirty of the mother series. Not only was he present in the films, but in the second film he almost stole the show from the leading quartet, with his fairytale wedding between swans, ice sculptures and Liza Minelli in flesh and blood on the reception stage.
In the sequel, however, the marriage with Anthony (Charlotte’s Italian-American bestfriend, played by Mario Cantone) begins to creak, to the point that the man has often taken refuge in Carrie’s single apartment to take a healthy distance from her husband. It makes tenderness, then, that after Mr. Big’s death (Chris Noth, currently at the center of complaints for alleged sexual harassment) wants to be close to her friend at all costs, at the cost of engaging in a competition with Charlotte to prove who is the best shoulder to cry on.
In the fourth episode, however, the twist arrives: a note addressed to Carrie, in her apartment. In a few lines Stanford announces that he has left the United States to move to Tokyo for work. No hugs, greetings, much less tears, because the journalist – he comments – has shed too many after the departure of her friend.
And no, it’s not a post-it like the iconic one of the eternal love promises of Grey’s Anatomy, nor a rhyme left with a painting on Peyton’s bed in One Tree Hill, just to name two examples.
It is an anonymous piece of paper, even if written by hand, without a flashback, a memory, a praise of any kind. Some might say that not even for poor Mr. Big were rivers of words wasted, indeed the minimal chic funeral organized by his wife would not even have had half a flower if it had not been sent by Samantha (in London, again for work, now a recurring theme in this uninspiring sequel). But here we are not dealing, as in the two previous cases, with actors who wanted to dissociate themselves from the project but with an artist who has disappeared and who probably would have deserved a little more consideration.
Stanford is the last character to whom the New Jersey interpreter has lent the face and would have deserved a greeting of greater emotional impact. Among all the frills of these new installments, there would certainly be room to honor a member of the saga family.
It was touched, however, that the actor’s son, Nathen, attended the premiere of And just like that, to remember his father and his contribution to the serial story capable of marking an era and revolutionizing TV standards.
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