Film Nominated

Actors on Actors looks at screen moments when stars are name-checked... by other stars! It's very meta. Since we're multi-tasking today trying to catch up, it's also a Tuesday Top Ten! In this episode, a scene from My Best Friend's Wedding (1997)

Julia Roberts: I have big plans for dancing. Just give me 30-35 years."
Rupert Everett [the voice on that ginormous cel phone]: The misery. The exquisite tragedy. The Susan Hayward of it all!"

The umimpeachably witty Mr. Everett (aided by that film's wonderful screenplay from Ronald Bass) is, of course, referring to the grand high priestess of exclamatory drama, Miss "I Want to Live!" Herself. It's not just those curtain-chewing performances, the desperate women she played or the trashy films but the gleefully histrionic taglines, too.

For no reason other than that I plan to live my life with exclamation points this week...




10 "She made good - with a plunging neckline, and the morale of a tigress"
from I Can Get it For You Wholesale (1951)

09 "LOVE-WRECKED!"
from Smash-Up: The Story of a Woman! (1963)

08"They branded her "Adulteress"!
from The President's Lady (1953)

07 "HARD-MUSCLED! SOFT-HEARTED!"
from The Fighting Seabees (1944)

06 "Do you know what they say about Laura Pember? They say she uses men like pep-up pills!"  from Stolen Hours which is also known as Summer Flight (1963)



05 "Love can make a killer out of a woman... and a fool out of any man!"
from I Thank a Fool (1962)

04 "She fell from fame to shame!" from I'll Cry Tomorrow (1955)

03 "The way SHE loved a Man could lead in only one direction - DOWN!"
from They Won't Believe Me (1947)

02 "A FAST BUCK... A FAST BRONC ... A FAST THRILL"
from The Lusty Men (1952)

01 "This story was filmed on location...  inside a woman's soul!"
also from I'll Cry Tomorrow (1955)
It's not just the greatest tagline from a Susan Hayward picture, it's the greatest movie tagline of the 20th century! And probably the 21st century too!! It deserves so many exclamation points !!!


At the annual convention of TLCOM (Tag Line Copywriters of America) their lifetime achievement prize is called "The Hayward".*

*I made that last part up but it should be the truth.

I mentioned very briefly this summer that I was working on a piece about Angels in America for a magazine. (That's why we covered HBO's Angels in the 'Best Shot' series -- multi-tasking!)  The magazine is WINQ which covers global queer culture and the issue is out on newstands now. My piece was timed to coincide with the New York City revival. I'm seeing both halves during the Thanksgiving break.

<-- Here's the magazine cover, in case you see it and wanna pick one up to read the piece. There's also some sample pages from their digital edition you can peruse and it's available to download and whatnot. My piece is referenced on this cover near the bottom right hand corner "ANGELS ARE BACK IN FLIGHT: The Great Work Begins, Again."

I'm so used to staring at a computer screen that seeing a piece I've written in print is a different and much rarer feeling.

I also got a chance to speak to Mark Harris while writing the piece -- he's the author of the Pictures at a Revolution that we were all devouring last year -- since the article has a sidebar on him and husband Tony Kushner. Kushner is the playwright behind Angels and an Oscar nominee, too (for the screenplay of Munich). Here's a video from Signature Theater company on Angels 20th anniversary. Tickets are still available for shows in early 2011 as the play has been extended.


Angels In America at 20 Years: Tony Kushner from Signature Theatre Company on Vimeo.

Tell me you'll see Angels on stage first chance you get, wherever the opportunity happens to present itself. It's even amazing in tiny regional theaters (which is where I first saw it in the mid 90s) so seek it out.

Robert here. Did you know that yesterday was the twenty year anniversary of the NC-17 rating?  That tag, applied to the most controversial of films, has developed the most controversial reputation itself, with artists and advocates complaining that it's implemented unevenly and scares away theaters an rental providers.  We're going to leave all that be for now and instead celebrate the ten films that, despite or because of their NC-17 reputations, lead the pack.  Here are the top ten money-making NC-17 films.

10. Wide Sargasso Sea (1993) $1,614,784
Rated NC-17 for strong, explicit sexuality
Does this one not sound familiar to you?  Released early on in the rating's lifetime, speculation is that while there's plenty of sex, it was the full-frontal male nudity that pushed the MPAA rating's board over the edge, probably the sort of thing that would easily get an R today (but you never know).  NC-17 films were relatively rare early on (not that they're plentiful today) and the rating's promise of scandalous titillation added interest to this film that history has forgotten.

9. Bad Lieutenant (1992) $2,000,022
Rated NC-17 for sexual violence, strong sexual situations & dialogue, graphic drug use.
While most of the films on this list can attribute their rating almost entirely to violence or sexual content, Bad Lieutenant serves up a healthy helping of other material as well, specifically it's prolonged scenes of drug use.

Not that the rape of a nun and Harvey Keitel's almost legendary full nude scene are things to scoff at (and we may wonder if the drug use alone would have earned an NC-17).  The film's sacrilegiously controversial reputation undoubtedly has helped boost it's earnings (the quality product behind the hype doesn't hurt either) and continues to buoy the film's position as a cult classic.

8. Crash (1996) $2,038,450
Rated NC-17 for numerous explicit sex scenes.
Sex and car crashes.  Crash is a film which, fifteen years later, still divides audiences and still provokes shock.  It's a testament to Cronenberg's skill and bravery as a director that he can delve head-first into such unspoken fetishes and ending up with a film that many still consider a masterpiece.  As is always the case, the NC-17 film was both a boost and a hindrance, allowing producers to slap the tagline "The Most Controversial Film in Years" on the film while simultaneously cutting an R-rated version for more sensible tastes.

7. The Dreamers (2004) $2,532,228
Rated NC-17 for explicit sexual content
It's fitting that Bertolucci grabs a spot on this list, as his work has always advanced the cause of intelligent erotica.  The trick here, as it always has been, is giving you passionate sex and nubile bodies (in this case Louis Garrell, Eva Green and Michael Pitt) to gaze at packaged in a manner that makes you wish you hadn't been turned on.  In the case of The Dreamers, we're presented with an incestuous love triangle with enough full frontal that the eventual rating couldn't have shocked anyone.  Cinema lovers can enjoy the classic cinema homages.  Francophiles can drool over the setting of 1968 Paris.

6. Tie Me Up! Tie Me Down! (1990) $4,087,361
Rated NC-17 for scene of strong adult sensuality with nudity.
With a title that promised Sado-masochistic treats and s director coming off his biggest hit to date Tie Me Up! Tie Me Down! boosted Pedro Almodovar's reputation as a chronicler of obsession and sexuality to the point where now we expect content for Almodovar that borders on the NC-17 line.  The film itself is the most delightful dark romp present on this list.


5. Lust, Caution (2007) $4,604,982
Rated NC-17 for some explicit sexuality.
Ang Lee's follow up to his Oscar win is a great example of how a distinct confluence of events can temper the NC-17 boogey man.  Combine a high profile director, and independent release and a sex scene so essential to the film, that to cut it would be disrespectful to said high profile director, and you've got uncensored success.

A brief aside about the bizzare marketing that accompanies NC-17 films.  The censored Lust, Caution DVD made for rental chain shelves, promises "the R rated film, not seen in theaters" and if you didn't know that was a downgrade, you'd assume, as I imagine is the point, that you're getting added kinkiness.

4. Bad Education (2004) $5,211,842
Rated NC-17 for a scene of explicit sexual content.
Pedro Almodovar's second entry on this list is a film where the sexual content is most definitely not meant to  arouse.  The film is a neo-noir based around the victim of an abusive priest.  As with his last NC-17 film, Almodovar uses the springboard of his greatest success to release a film that can only work with the content that most distributors would quickly flinch at.

3. The Cook, the Thief, his Wife and Her Lover (1990) $7,724,701
Rated NC-17 for adult situations/language, nudity, sex
My great old film professor's story goes, he showed this film to a class and got into a bit of trouble.  Truth told, the violence, death by forced feeding, sex in meat lockers and cannibalism can overwhelm some of the films other creative visual constructs (for example, the colors of characters' outfits change as they walk from one room to another).  But director Peter Greenaway knew what he was doing and knew what he wanted.  This film is still that for which he's most known.  And it's hard not to ignore the bizarre courageousness of any film where Helen Mirren utters the phrase, "Try the cock... it's a delicacy."

2. Henry & June (1990) $11,567,449
Rated NC-17 for adult situations/language, nudity, sex
The first film ever slapped with the NC-17 distinction and it shows.  The story of Anais Nin's unconventional relationship with Henry Miller and his wife June and how it inspired Tropic of Cancer these days seems, if not tame, certainly unworthy of the rating.  But as the ratings board was still figuring out what would qualify (apparently three-way sex and brothel scenes made that list) they handed Henry & June a PR victory and the movie practically marketed itself.


1. Showgirls (1995) $20,350,754
Rated NC-17 for nudity and erotic sexuality throughout, and for some graphic language and sexual violence.
I give you, the grand champion.  Look at the difference between the moneys made by this monster and our number two film.  Showgirls is the only movie on this list that still has a place as a pop culture phenom.  That place may not come with the most respect in the world (although I'd argue it never was meant to) but the combination of good marketing, quality camp and copious nudity (hiring a previously "good girl" actress didn't hurt) propelled Showgirls easily to the top of this list.  Considering the small-release, art house atmosphere that most NC-17 films niche into today, I wouldn't expect a challenger to Showgirls' crown any time soon.

How many of these films have you seen?
*

Terrible news to report. This morning Sally Menke's body was discovered in Beachwood Canyon. She was 56 years old. It may have been California's extreme heat on Monday when she went missing but details are still emerging. She had been hiking with her dog, a black lab (the dog is okay). The amazing film editor was best known for her work with Quentin Tarantino. She edited all of his feature films.


So you can thank her in part for the wondrous control of Tarantino's very distinctive pacing, intricate performance shaping (and so many great performances had to have been carefully shaved, trimmed and aided by Sally's deft hands), freeze framing (just mentioned!) and not least of all those incredibly precise long-form action sequences in Kill Bill Vol 1 and Kill Bill Vol 2.



And here's a lovely compilation from Inglourious Basterds of the actors saying "hi Sally" before and after takes to amuse her in the editing room. My favorite is Til Schweiger's. He's so serious in the film but such a goof here.



Heartbreaking in retrospect but so sweet to think about. She must have so enjoyed these moments.

Fine farewells:

• Edgar Wright (Scott Pilgrim vs. the World) shares his last conversation with her. 
• Aint it Cool News Tarantino: "I don't write with anybody. I write by myself. But when it comes to the editing, I write with Sally."
• ArtsBeat She was also hiking when she first heard she got the Reservoir Dogs job.
• Joblo Menke's own words having worked through both of her pregnancies "my babies had Tarantino movies played to them in the womb, but they seem to have turned out OK."

Our hearts go out to Menke's family and to QT.

Trivia: She was nominated for an Oscar twice for Pulp Fiction and Inglourious Basterds. Here at the Film Experience she won two medals, the bronze for Basterds and a gold medal for Kill Bill Vol. 1 (2003) --  I'm still horrified that the editor's branch didn't honor her genius there.

Keeping up with the foreign film Oscar submission announcements is a sisyphean task. Uruguay hasn't announced yet but I'm hearing from an inside source that three different groups of voters weigh in and the field has been narrowed to two films: Leo's Room, a gay drama about coming out, and The Useful Life which is about a film programmer and a dying theater. MUBI calls it "distinctly ungeeky in its cinephilia." Sounds intriguing.


Can you feel the excitement? Soon we'll have our complete list of 60+ subtitled Oscar hopefuls which most of us will never have the opportunity to see... at least not unless we hunt them down over the next couple of years but by then there's two whole new batches of foreign films to track down and you forget all about the ones from two years back*. Wheeeeeeee. (see what I mean about sisyphean? I think the only solution is to look up new film titles on Netflix and click "save" and be surprised 1 to 11 years later when they arrive at your doorstep having made it to DVD and worked their way up your queue)

I'm guessing this is why most cinephiles have one or two particularly countries or regions they specialize in / obsess over. How else to stay on top of world cinema? It's the land of the specialist and I am, alas, but a very scattered generalist.

*at least that's my problem. Distribution moves slowly and my brain moves quickly darting away from one movie to the next, and is long gone by the time a movie opens in one or two theaters two years after its festival premiere. (sigh)

Fifty countries have now announced their Oscar submissions. We usually end with sixty-plus competitors so there's a dozen movies (approximately) left unannounced. The big question marks are Spain (we're guessing Celda 211 nope, Spain chose Even the Rain starring Gael García Bernal) and Italy (we're guessing The Man Who Will Come) since both countries are favorites of Academy voters. We'll know the "official" official list in early October. I've updated all the pages.

• Afghanistan to France
• Germany to The Netherlands
• Norway to Venezuela (plus finalist list for Uruguay)

Two biggies recently announced are Mexico's choice Biutiful which won admirers and haters at Cannes --for the same reasons as director Alejandro González Iñárritu's past efforts have divided -- and China's Aftershock (2010), the country's first homegrown IMAX epic that was a huge hit this summer.

Biutiful is a drama about a man who is dying and his life is falling apart on his way to the grave. Javier Bardem won Best Actor at Cannes so it's definitely One to Watch as it were. Plus, we know AMPAS voters respond well to Iñárritu's specific brand of miserabilism since they've handed nominations to all three of his previous feature films: Amores Perros (Best Foreign Language Film) 21 Grams (acting nominations) and Babel (several nods including Best Picture).

China's submission is inspired by a 1976 earthquake that killed nearly a quarter of a million people. I assumed it's fictionally dramatized (like Titanic for example) as the main plot apparently revolves around a woman who must face her own Sophie's Choice when her twins are buried alive and the rescue team can only save one of them.

The unusual trailer takes us backwards in time. I'm personally not much of a fan of disaster epics -- if I see New York City or Paris destroyed one more time in a movie. Grrrrr -- but will Oscar be? I mean, this won't have the science fiction silliness of something like 2012 and they do like a good historical epic.

At any rate, it's important to remember that no film is ever a safe bet in this particular derby since there are so many options and the voters actually have to watch the films (unlike other races where you can theoretically be nominated on goodwill and campaigning alone, no screenings necessary)



Have any of our international readers seen either of these films? Speak up if you have. Or prognosticate blindly in the comments. You know how we do.

Nathaniel's Oscar-Submission Reviews Thus Far
Peru's Undertow
Thailand's Uncle Boonmee Who Can Recall His Past Lives
More soon...
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The teaser for our Christmas present from The Coen Bros has arrived. It's our first good look at the second film version of the novel True Grit. Now why can't trailers for musicals admit their genre as readily as all westerns do -- despite westerns being a similarly troubled genre with notoriously fickle public interest. 



As a teaser there's not much to go on yet. But I am happy to say...

yes Joel and Ethan Coen reuniting with "The Dude" is cause for rejoicing all by its lonesome self and the cinematography by Coen regular Roger Deakins looks unsurprisingly purty. I also reckon Carter Burwell stuck with his "protestant hymn" scoring idea that I scooped for y'all from Nashville this spring if the music in the teaser is representative of what we'll hear in the full movie.

no Matt Damon shooting things is less thrilling than it once was.

maybe so Apart from those strong directorial hands, all four of them, this entire thing will rest on Hailee Steinfeld and she's unknown to us. Good luck Hailee!


I'm actually just doing the Yes, No, Maybe So™ from habit. I am 100% YES. And you?
* Jeff Bridges Joel Coen

She was born on the 4th of July, 1910 in Santa Monica and a little over a century later she left this mortal coil right next door in West Los Angeles. But oh how this American blonde travelled in between.

She was engaged to The Invisible Man (1933) in a tiny village in Sussex. She made it out of The Old Dark House (1935) in Wales as a young ingenue, when the gothic mansion was set on fire. Her husband was jailed in the West Indies as The Prisoner of Shark Island (1936). She was cousin to rising radio star Rebecca of Sunnybrook Farm (1938). She spun around the dance floor with Peter O'Toole in My Favorite Year (1982). And quite famously, she survived the Titanic (1997) which departed from England but never made it to its New York City destination.

And that's just a few of Gloria Stuart's best known screen journeys.


Off screen her life was also rich, though much of it was spent away from the public eye. She travelled extensively, was a founding member of the Screen Actors Guild, a printmaker and artist and was even skilled in the Japanese art of Bonsai.

Stuart was honored this past July by AMPAS for her centennial. Here's a couple of photos from the event.


Rest in peace Old Rose.
*

Uncle Boonmee can recall his past lives. My memory is hardly as uncanny. Recalling or describing Uncle Boonmee Who Can Recall His Past Lives, the Cannes Palme D'Or winner and Thailand's Oscar submission, even a few days after the screening is mysteriously challenging. Even your notes won't help you.


This is not to say that the movie isn't memorable, rather that its most memorable images and stories refuse direct interpretation or cloud the edges of your vision, making it as hazy as the lovely cinematography. You can recall the skeletal story these images drift towards like moths and you can try to get to know the opaque characters that see them with you but these efforts have a low return on investment. What's important is the seeing.

What's wrong with my eyes? They are open but I can't see a thing.

Most synopses of the movie will only embellish on the film's title. And while Uncle Boonmee does reflect on past lives, he only does so directly in the pre-title sequence as we follow him in ox form through an attempted escape from his farmer master, who will eventually rope him back in. The bulk of the film is not a recollection -- at least not from Boonmee himself, but a slow march towards his death while he meditates on life and the film meditates on animal and human relations. His nephew and sister in law, who objects to his immigrant nurse, visit him. So too does his dead wife and another ghostly visitor on the same night, in a bravura early sequence that as incongruously relaxed as it is eery and startling.


The film peaks well before its wrap with the story of a scarred princess and a lustful talking catfish and then we begin the march towards Boonmee's death, perhaps the most literal moment in the movie. And then curiously, the movie continues on once he's gone. If it loses much of its potency after Boonmee has departed, there are still a few fascinating images to scratch your head over when he's gone.

The bifurcated structure that Weerathesakul has employed in the past is less prevalent this time.  Uncle Boonmee plays out not so much like two mysteriously reflective halves (see the haunting Tropical Malady which I find less accessible but actually stronger), but rather like a series of short films that all belong to the same continuous chronological movie, give or take that gifted horny catfish.

Surely a google search, press notes, academic analysis or listening to the celebrated director Apichatpong "Joe" Weerathesakul speak (as I did after the screening) would and can provide direct meaning to indirect cinema. But what's important is the seeing.

Vision is frequently mentioned and referenced in Uncle Boonmee, whether it's mechanical -- as in a preoccupation with photography which peaks in a late film sequence composed of still images -- or organic. But like the ghost monkey with glowing red eyes (the film's signature image) says to Uncle Boonmee early in the film, "I can't see well in the bright light." It's the one exchange in the film that I wholly related to and understood. I'm not sure I need or want to understand, to attach specific meaning to these confounding stories and images. I only want to see them. Weerasethakul's movie is best experienced in the dark, with the images as spiritual guides. They fall around you like mosquito netting as you walk slowly through the Thai jungle. B+/B

Happy 62nd birthday to Olivia Newton-John. Rather than celebrate with the usual Xanadu (1980) fixation or the more universally beloved Grease (1978) how about a duet with John Travolta from their flop reunion Two of a Kind (1983)? The third of her movie soundtracks is largely forgotten. I can't remember anything about the film other than that there was some divine romantic comedy intervention involving heaven and resurrection. Heaven Can Wait was a big hit the year that Grease was the biggest hit of all, so maybe it was still in the atmosphere to influence Two of a Kind's dumb story.

The only scene I remember is one in which Olivia was in acting class and her acting teacher thought she was a terrible actress (uhhh....) but then all of sudden while playing a scene she saw a criminal in the theater -- context? -- and started screaming and the teacher marvelled at how genuine her emotions felt! My point is that it was a terrible movie.

Here's the love theme / duet for the movie. Why isn't it one of the schmaltz classics of the 1980s? Even if you don't know the song, marvel at the sheer volume of PINK everywhere you look. There's only one color in this rainbow. Travolta is so very breathy... was it all those fumes from Olivia's hairspray? They look so contagiously happy together.




Though Two of a Kind justly flopped, the movie did give ONJ her one last big hit after a whole slew of them in the 70s and early 80s. It was "Twist of Fate." Madonna was about to change the whole pop landscape and Olivia would suddenly be of the past.



I have a lot of issues with John Travolta as a celebrity but one thing I think is cool about him: even with the gazillions of dollars and the inexplicably enduring bankability, he doesn't shun his past. Here he is with Olivia just a couple of years ago singing "You're The One That I Want" for a Grease DVD party. So here's to longevity and loyalty to one's friends.



When was the last time you watched Grease? How many times have you seen it?

Craig back with a new Take Three.



Take One: No film without her

There are certain characters who, when they appear on screen and begin adding their particular slant, I know I'll want to see more of. Sometimes the filmmakers oblige with this. Sometimes they don't. Personally, I'm thinking Radha Mitchell in Finding Neverland (who I looked at here), Anna Faris in Lost in Translation, Jayne Eastwood in Dawn of the Dead (2004) and the like. We all have certain types we want more from.

More often than not, they're played by great supporting/character actors, doing what they do best: stealing the film... if actually given the chance. That's how I felt about Plummer as boiler-suited cleaner Laurie in Isabel Coixet's My Life Without Me (2003). This isn't to dismiss Sarah Polley's fine central performance as Ann, but something made me gravitate toward Plummer's character, her friend and co-worker, with far more curiosity.


There was a story there. Her whole life and all the possible dramas and woes it contained was hidden within the tiny flickers of unrest and resignation that Plummer spiritised Laurie with. She made real, solid sense; she's someone we've all surely met. Plummer's such a seasoned, versatile actress that she raised a fringe character beyond someone who merely pushed a mop around and assisted Ann with her laundry list of terminal woes. Plummer's also a generous actress -- too generous, maybe. She settled for the supporting role of the supportive friend here with neither fuss nor fanfare. Yet what she does with this most peripheral of roles is consistently engrossing. I find my eyes drawn to her awkwardly wonderful face whenever she's on screen. And I couldn't imagine My Life without Me without Amanda P.

Take Two: The meek shall inherit... Robin Williams' undying devotion

The Fisher King (1991), Terry Gilliam's paean to the homeless, marginalised denizens of New York, by way of the titular Arthurian legend, has a wonderful cast quartet. There's Williams as Parry, Jeff Bridges as shock-jock DJ Jack, Mercedes Ruehl as saucy broad Anne, and, last but not least, Plummer as mousy, lonely publishing accountant Lydia. With a strawberry bell-end bob under a beige beret and a sloppy, fusspot disposition, Lydia is courted (well, more like stalked) by tender tramp Parry. He's adored her from afar and with Jack's chummy coercion, snags a date with her. It's more meet-clumsy, than meet-cute.


Lydia's as much the awkward, nervy oddball as the troubled Parry ("They were made for each other... scary, but true," says Anne at one point), and Plummer expertly plays up the quirkiness without any unnecessarily forced embellishments. Over the film's charming, easy-going middle section she proceeds to peel the kooky layers away to show us the vulnerable woman behind it all. This is especially visible straight after the funny, largely silent double-date sequence. Plummer's mini speech, where she recounts the tired process of a life's worth of bad dating experiences with gradual tears and a weary demeanour ("...and ever-so-slowly I'll turn into a piece of dirt"), is one of The Fisher King's most emotionally wrenching moments. But Plummer does also get to glide through the waltzing crowds in Grand Central Station when Gilliam turns it into a giant fantasy ballroom. Gilliam likes to celebrate the often unassuming, interesting types in his films; Plummer's the perfect character actress fit for his otherworldly cinema.

Take Three: The crowd control

Tim Roth and Amanda Plummer. Pumpkin and Honey Bunny. (Ringo and Yolanda, to be precise.) Two enterprising, pre-title wired diners who demanded more from breakfast service than most and wanted it bloody side up. They had the hipness of Bonnie and Clyde, the daffy scorn of Leonard Kastle's Honeymoon Killers and the light weaponry of Thelma & Louise. They had snappier dialogue than all of them put together.

Garrulous to a fault (it's Quentin Tarantino, so of course) and teetering on the edge of idiosyncrasy, they had odd sweetly grinning faces -- interesting faces, character actor faces, watchable faces -- to match their nicknames. Especially Amanda Plummer: there was a reason QT focused more on Honey Bunny, foregrounding Plummer in his pulpy prologue. She's a bona fide live wire, revelling in the dark ebullience of her mayhem: only a freeze-frame could put a stop to her antics. "I'm ready. Let's do it: right now, right here!"


She's Pulp Fiction's (1994) crazy gem, the one who got to hysterically deliver the line most folk remember first. Plummer was maniacally good with her own brand of Tourette's etiquette, barking "Any of you fuckin' pricks move, and I'll execute every-mother-fuckin'-last-one-of-you!" It's not the first thing you want to hear over your eggs and morning coffee, true, but a wake-up nonetheless. When Tarantino gets famed for the sureness of his dialogue it's outbursts like this, delivered by fearless, competent performers, that spring to mind more than the flip pop references. Plummer devotees will see Honey Bunny as a defining, quintessential bit-part in one of the bigger movies of her career. Casual movie-goers will remember her as That Mental-Lookin'-Gun-Waving Woman. But we do all remember Honey Bunny.

Three more key films for the taking: So I Married an Axe Murderer (1993), Needful Things (1993), Butterfly Kiss (1995)

My subconscious is angry that I have only done one big NYFF write up. Last night I tossed and turned -- 3 hours of sleep tops -- and had one of those persistent dreams which recycles stuff you've just experienced. Each time you fall back asleep you return to it and in its relentless disturbance, it becomes a nightmare even though it's not scary.


It took place in a huge empty house in which I'm throwing a party. At some point I was doing an elaborate photoshoot with two actresses. Please don't stop to ponder why they were Franka Potente (!) and Meg Ryan (???) or why they were then Juliette Lewis* and Sandra Bullock. (Was this a 1990s period piece?) Everyone was angry when they discovered the shoot was in black and white. At one point someone wore a Princess Valhalla Hawkwind costume. My dad was suddenly there smiling with approval that I knew famous actresses (This was the "you're dreaming!" moment -- or like that bit in Inception where all the subconcious projections turn to look at you -- whoever the forger was, he wasn't as prepared as Tom Hardy. My dad would never do this.) I went out for coffee since the party was running low.

Then I'm in the atrium and I see Justin Timberlake and Jesse Eisenberg lowering my rented grand piano down through the building and all is chaos. The piano strikes a railing and begins to break into pieces. They claim they were trying to help but they've ruined my life as the cost of a grand piano will bankrupt me.

Then there is no party, and the dream is a mystery about some crime which keeps changing and to which I am not privvy and the detectives (Mills & Somerset, natch) keep asking me if David Fincher did it. How self referential! They also tell me they're investigating "Joe" and Abbas Kiarostrami** and I keep telling them I know nothing but everyone is sure that I do.

We know you've seen them! They were at your party

Nothing makes any sense from moment to moment in the dream's third act. It's all fractured clues, 2 second scenes, filmmaker name-checks. The last image is a shot of dusty footprints leading nowhere. I don't know who did it or what they were supposed to have done but I'm pretty sure that bastard Justin Timberlake who wrecked my piano is guilty.

My dream was edited with a chainsaw. The chainsaw had ADD. I hope your night was more restful and the celebrity cameos less willfully destructive and angry. Feel free to share.

*regularly makes cameos in Nathaniel's REM life.
** I assure you this is a first time appearance.

I suppose I must pick up my Oscar-pundit speed now. Sorry for the delays...

Let's talk about The King's Speech



As you know this film came roaring out of Toronto as the audience award winner (see previous post) and The Film to Beat at the Oscars... unless you think that's The Social Network but it's since it's only late September fans of either (in reality or in theory) need to calm down. We were always confident that The King's Speech was an Oscar film even before they started filming which is why we've predicted it for several nominations since April. But now that the trailer is here allowing non-festival goers to have a looksee, what do we think?

On the bright side, it looks fun. Or at least it looks fun to anyone who loved watching Eliza Doolittle learn to properly e·nun·ci·ate. It also gives Colin Firth a meaty role that seems like a reward for elevating A Single Man (2009) (but for the fact that he probably signed for this before anyone saw how great he was in last year's nominated turn). I'm also THRILLED -- and yes it needed to be typed in all caps -- to see that Helena Bonham Carter has managed to escape Burton's gothic dungeon for some badly needed air. She's probably heading straight to her second Oscar nomination with relative ease; You know how they love those supportive wives. What's most surprising about the trailer is that the production values look superb and not in some vaguely rote prestige way but with a vividly handsome specificity. I didn't expect great visuals so maybe Tom Hooper's Best Director buzz isn't so far-fetched for a film that on paper seemed like one for the acting and production design branches mostly.

On the other hand, I am completely allergic to Geoffrey Rush in hambone mode. His win for Shine (1996) is one of my least favorite Best Actor prizes in the category's history and they nominated him for the entirely wrong film in 1998 as he was much more restrained and effective in Elizabeth than he was in Shakespeare in Love. He looks to be bringing the kook to scenes that already have inherent kookiness (speech therapy's comedy friendly exercizes) and I may just break out in hives watching him go for a second Oscar. I'm taking epipen into the theater with me... just in case.

Then we come to the Oscar Bait -- as if Royalty Porn weren't enough of it -- which is the World War II 'Nazi's are coming!' time frame. I hope it's less awkwardly handled here than it was in Mrs. Henderson Presents which this film vaguely reminds me of sight unseen. That's not a purposeful mental jump. It's worrisome rather but probably just based on account of early Oscar buzz, prestige actors, and the world war haunting the periphery of a "light" film.

Again, I might need the epipen but the festival buzz is certainly something to think about in an optimistic way. I'm a Yes leaning Maybe So because, again, Geoffrey Rush is a total No for me most of the time ...especially whilst clowning around. Look, we can't help what we're allergic to. Don't give me a hard time about it.

Are you a Yes, No or Maybe So? And do you buy the Oscar frontrunner (or thereabouts) hype?
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Just Jared more pics from the set of Captain America. Chris Evans with prosthetic feet. I always did wonder how they filmed barefoot chase scenes.
The Evening Class a defense of Bruce LaBruce's porno/horror hybrid LA Zombie.
Freaking Awesome ...speaking of zombies, this poster is created from zombie movie titles. Sick.
The Playlist Stanley Tucci shopping a sports biopic to direct and star in? At least it's not a traditional sports star biopic.
Vulture Mark Ruffalo will actually be playing the Hulk in his monster 3D form (i.e. motion capture) "I hope I don't bulge in anyone's face."


In Contention "I'm just here for the movies" I'm glad I have Guy Lodge with me on this. While it's true that some Oscar pundits care about the race first, with the cinema being but a happy-accident side dish, that's not true of all of us.
Boy Culture Remember when I got to meet Michelle Pfeiffer and Julianne Moore? Good times. Matthew Rettemund, who wrote my favorite book on the icon (Encyclopedia Madonna), finally got to meet her. Here's his story - with video!
LA Times Lindsay Lohan wins more jail drama. I am going to valiantly try to never mention her again on the blog. I'm not sure why I'm doing so now. It'll be hard for me but I feel embarrassed, actually, that I've been rooting for her and intermittently defending her talent for 12 years. What so many millions of people would do with the breaks, beauty and talent she was gifted.
LA Rag Mag Adam Levine wants you to know that Jake Gyllenhaal is not gay.
Noh Way in the wake of the release of Easy A, looks at Hester Prynne throughout movie history

Finally, here's the first bit of the NYFF press conference after our screening of The Social Network yesterday.



I love this bit from Aarron Sorkin...

I didn't think it was a movie about Facebook. I thought it was a movie that had themes as old as storytelling itself: friendship and loyalty, class, jealousy, power -- these things that Aeschylus would write about or Shakespeare would write about or Paddy Chayefsky would write about. Luckily none of those people were available so I got to write about it.

I don't know if I quite buy into the "it'll win Best Picture!" mania that's spreading (it's only September 25th, after all. We don't even know how it will fare with the public) but I 100% believe that Sorkin has a very strong shot at taking home whichever Screenplay category he ends up in.

Coco Martin (left) is smiling because his career is going so nicely, thank you very much. He employs the savvy modern move of many a contemporary Hollywood star which is to say he alternates between mainstream projects for the fame/money and indie films for the cred. 'One for audiences, one for me' as it were (see also: Clooney, Moore and dozens of American A-listers). The irony for stars outside of the Bollywood and Hollywood mega-systems though is that the "art" or indie projects are really the only way you get fame/money in the international sphere, since that's the stuff that travels and wins international honors in other countries

Coco is the star of the Pinoy Oscar submission Noy which he also co-wrote and co-produced. If you recognize him at all, it's probably as the frequent muse of The Philippines most internationally recognized director Brillante Dante Mendoza for whom he starred in the violent Cannes lauded/loathed Kinatay, the gay DVD hit The Masseur and in Serbis about a troubled family running a porn theater which had a brief US run.

Mendoza has nothing to do with this film, but I bring it up because Coco's next film, a reunion with Brillante Mendoza, is called Captured and will co-star none other than Isabelle Huppert. Talk about reasons for a young actor to smile.


I'm pretty sure I compile the foreign film charts each year mostly due to my OCD with movies. Sadly, with distribution the way it is and the new Academy Best Picture field expanded to 10, one dream of mine will always be a windmill to tilt at. I've always wanted to cover both races head on, as if it's Best English Language Picture vs. Best Picture in a Language Other Than English for some invisible Best of Best Statue within the same Oscar coverage year. But now, even if all of 15 pictures were released in time, which they never are, it'd be a lopsided head on battle, 10 against 5. The symmetry is all ruined even if the sorry state of foreign film distribution hadn't already done the dream in.

Still... in the fantasy movie land inside my head where there are never any time constraints and watching movies happens in the blink of an eye so you can fit dozens into each day without eye strain, I have always hoped to one day place them head to head, like Best Foreign Film Shortlist 1970 vs. Best Picture Shortlist 1970 = which is better? which is the best of the best? Etcetera. Someday...


Austria to France. I've just seen France's entry Of Gods and Men and it's a strong tear wringing contender that handily avoids the treacly by going quiet and meditative to look at the last days of a Christian monastery in an increasingly terror-addled Muslim village. I definitely could see it shortlisted but I'm not sure it's a "winner". France has had difficulty with that in the past 30 years. In fact, since their amazing run in the 1970s  -- they won four times in just one decade (!) for The Discreet Charm of the Bourgeousie, Day for Night, Madame Rosa and  Get Our Your Handkerchiefs  -- they've only won once. That was for 1992's Indochine which also landed Catherine Deneuve her only nomination. I'm still sad they lost when The Class (2008) was up for the naked gold man. What a brilliant film that was.

But speaking of Indochine (pictured left) it's interesting that virtually all distributors, even the ones who are good at pushing foreign films like Sony Pictures Classics, have forgotten how much more momentum you can gather if you open in the actual calender year and get yourself on top ten lists and in other Oscar category races, too.

I recognize there are holes in this theory. It didn't work for Amélie but you know that year had to have been a squeaker with the Bosnian film No Man's Land just edging it out. And it didn't work for The White Ribbon unless you consider that maybe it wouldn't have even been nominated (not exactly their favorite style of film) if it hadn't been able to build such a huge tidal wave of "masterpiece" citations before they had to vote on the nominees plus a last weekend of December release is hardly a "momentum" date.

But still... I'm hoping at least two of the future nominees find a way to play in theaters before the end of the calendar year instead of waiting for February or March and banking on the elusive Oscar spotlight.



Germany to The Netherlands. Greece's Dogtooth and India's Peepli [Live] have had US releases prior to submission announcements. But they're lonely. While many of the submissions have played at either Toronto or Sundance only three (thus far) have seen the insides of regular movie theaters. The other one is Peru's moving gay drama Contracorriente (Undertow).


Norway to Venezuela. I can't imagine Oscar going for Thailand's absolutely bizarre Uncle Boonmee... having now seen it. But I remain pleased that it's in the mix. That said -- and maybe I'm alone in this -- but I think it's more accessible than Apichatpong Weerathesakul's most succesful export thus far, Tropical Malady so I think it could theoretically nab some attention once it's in theaters. How much and when remains to be seen. (More on "Joe's" filmography here in the "Modern Maestros" series.)

I need help. I have been unable to locate movie posters (I have stills already) and official sites for Iran's Farewell Baghdad, Israel's The Human Resources Manager and Macedonia's Mothers if anyone can provide.
Which country are you rooting for thus far? I've seen but three official submissions thus far (Thailand, France and Peru) and all would make worthwhile or at least solid nominees and in roughly that order of preference... More please!
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Screwball sharp dialogue meets riveting bad behavior.
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I'll get to a fuller review soon. Screened it at 9 AM this morning and I'm already desperate to see it again. The film has its big premiere tonight at the NYFF. Expect another torrent of crazed "buzz" to follow. That word is often used interchangeably with "hype" in Oscar punditry and online discourse -- I use it incorrectly myself I freely admit. But "buzz" is the real thing whereas "hype" is like buzz in vitro, carefully created. Buzz is uncontrollable and what results when something (pre-hyped or not) actually delivers. And The Social Network most definitely does.

 About the sordid topic of Oscar... Before seeing it, I had predicted The Social Network for five nominations: Picture, Director, Supporting Actor (Justin Timberlake), Adapted Screenplay and Editing. I have probably underestimated it slightly since Cinematography and Sound could well be in the cards, too. The performances are quite strong across the board but I fear it's the type of work that the acting branch will be the most resistant too, since most of the characters are "unlikeable" without being showy, and showy is the key modifier in clearing the unlikeable hurdle for awards voters... generally speaking of course.