TV Week in Review: Sunday 24th – 28th April

Before long a number of these shows are going to be airing their finales, so they’re all doing their best to go out with a bang which means a generally good week of television.

Desperate Housewives: “The Lies Ill-Concealed”

Last week this show turned out a good episode, which was like a long drink of water after a drought. The show has been a downward spiral this season, and this week it manages to top last week’s good instalment with another episode featuring that excellent juxtaposition of humour and drama which once made this one of the best comedies on television. I’m all for character development, so the arcs all worked for me. Lynette’s was the poorest, but it was the source of much humour. The character herself seems to be learning things she should learned ages ago but it works in a great way, even if Vanessa Williams doesn’t get as much to do as I like. And although it starts out with some gruesome images, Susan and Paul’s affiance works much better than any arc she’s given this season. But neither matches the two great arcs surrounding Felicia and Karen and Gaby and Bree. On one side, Felicia reveals that she is still freakishly diabolical and poor Karen is the sap and on the flipside watching Bree and Gaby bond was such a nice touch and even though I understand Carlos’ decision I was cheering when Gaby went moved in – temporarily, I presume – with Bree definitely putting her marriage in jeopardy. If only the entire season had developed in such an admirable way.

[B+]

United States of Tara: “Dr Hatteras’ Magical Elixir”

The episode itself is probably the weakest of the season, thus far – but it’s hardly an unrewarding episode. Tara signs on to be her professor’s “lab-rat” which is something that I’m interested in, guest star Eddi Izzard in turning in some good work. Max is facing troubles at work, and though it’s a generally trite arc Corbett turns in some good work this episode. Larson doesn’t get as much to do as I’d hope, but her shenanigans on the plane were hilarious – I’m looking forward to what becomes of that. Charmaine and Tara finally reconcile in what ended up being a sweet closing. And, Marshall and Lionel call it quits which felt a bit odd – but I’m not sure why. I’m not sure if it’s because the relationship felt bogus, or because its end seems so flippant. I suspect that a tornado could brew from his latest liaison, but we’ll see, I suppose...

[B/B+]

Nurse Jackie: “Rat Falls”

I love Facinelli’s work on Nurse Jackie so – naturally – I was glad that he got a major this episode and I was even more overjoyed when that arc ended up being opposite Soozie Kurtz (as one of his moms). Facinelli is the only character who seems to be playing to a comedic audience (I still think Nurse Jackie is a drama in disguise) but his scenes manage to work on the comedic and dramatic level. In other news, rats infesting the hospital and happened upon Jackie’s pills. Will Jackie ever quit? Who knows? Eve Best too turned in fairly good work on this episode. As usual, Nurse Jackie never really overdoes it with the plot – but the episodes are almost always enjoyable.

[B+]

Glee: “Born This Way”

I feel a bit badly for Glee, it’s as if it can’t win and I don’t know if perhaps audiences were expecting a “revolutionary episode”, a notion I find hilarious – this is Glee,people. Kurt’s back at McKinley and though he comes via a turgid rendition of “As If We Never Said Goodbye” (which happens to be one of the few Andrew Lloyd Webber songs I actually like) it’s all good. Sort of. For me, the episode is saved less by the overreaching arc of self-love and more by a trio of fine performances from Jayma Mays, Lea Michele and Dianna Agron. Emma’s rant about being a “ginger” was a nice moment of silly humour that I’ve been missing. Jayma has been given so little to work with this season. Quinn and Rachel have the best number of the episode – it’s easily one of best mash-ups the show has done, which makes the episode lopsided because it comes so early in it. The revelation of Quinn’s ugly past is an awful plot-point which subverts the entire self-love theme by implicitly saying that being conventionally good-looking is bad and by being too heavy-handed with high-school clichés. The Santana/Karofsky madness was humorous, mostly. Issues abound, as per usual, but for me it’s a strong episode. And I love randomness like the band geeks having their instruments with them on the patio. During lunch hour. Complete with a piano. Madness.

[B+]

Cougar Town: “You're Gonna Get It”

True, it’s not an excellent episode but it’s solid comedic goodness, and Cougar Town is a fine show. Bobby hits the wrong ball at the golf tournament which leads to a hilarious bit of random humour courtesy of Van Holt. This arc was buttressed by Jules hilarious mistakes with the “Pledge of Allegiance” (the strongest plot-point) and Travis and Laurie teaming up to hoodwink Ellie and Grayson. The relationship between Travis and Laurie is a winner, but even more I love how Ellie and Grayson don’t care for each other but still manage to foster a weird rapport between them. There are some classic Cougar Town moments, most of them courtesy of Laurie and her twitter fansite and it’s all in all a nice half an hour of good times.

[B]

Community: “Applied Anthropology and Culinary Arts”

...and so Shirley’s baby is born. The episode feels a bit flat, and yet I think it’s a solid one. It’s probably because it’s missing on the most outrageous of things making for a softer, and oddly poignant episode. Fans will be pleased to know that Chang is NOT the father (said as Murray Povich). Jeong does a fair job this episode, but even when he’s good I still find him to be an exasperating performer. Troy and Abed’s handshake gaffe was hilarious, and I just love seeing Donald Glover get chances to show random bits of emotion. Britta and Jeff have a number of “moments” this episode, most of which end up working much better than I anticipated. I’m so glad to see that Community has managed to maintain my interest.

[B+]

The Office: “Goodbye Michael”

Well, Michael Scott has left the building and like the usual serious things that occur at Dunder Mifflin it all occurs with a level of poignancy that’s become a bit underestimated in the modern sitcom. It’s wonderful watching Carell interact with the entire cast as he gives each of them a goodbye present. Yet, even as the episode is marked with all this sadness it never loses site of those random moments that will always make this office the best one. The very sight of Pam walking into The King’s Speech while on a work assignment was just one of those brilliant little moments that worked much better than you’d think it would on paper. Or Dwight telling Michael that he doesn’t deserve to be “buttled”. It was such a nice touch having Jim figure out the ruse without breaking it, although I can’t say Deangelo Vickers is interesting, I’m a bit worried...

[B+/A-]

Parks & Recreation: “Jerry’s Painting”

And, as per usual, Parks & Recreation delivers another solid episode this week – and it’s a few minutes longer than usual, which I’m all for. Jerry’s controversial painting of a centaur with a striking resemblance to Leslie leads to controversy in the department. The painting acts as a nice impetus for a number of things. Ron doesn’t play a significant role this episode, but he does have an excellent speech about his interest in arc. Leslie’s a little down because she can’t date Ben (the sexual tension is killing me, hee) so she makes it her mission to save the painting. Meanwhile, Ben moves in to the married home of April and Andy which leads to some exceptional moments between the trio. April and Andy’s marriage is somehow leading to even more great moments on this show, which I didn’t even think was possible. And to think this is one of the season’s weaker episodes and it’s still head and shoulders above almost anything on television. As Andy would say, “Awesome-sauce”.

[A-]

30 Rock: “Everything Sunny All the Time Always”

Well, cheers to all in involved – this was a piece of brilliant. I’m not sure (I’m a bit partial to “Christmas Attack Zone”) but this might have been the best episode of the season and what’s so odd is that Jenna’s role was significantly muffled – although she delivered on that opening gag in Liz’s apartment with “The Secret”. It’s a trio of arcs. Tracy returns and is annoyed that the gang survived without him, leading to a ridiculous situation of trying to create the moment of a specific joke. The concept succeeds much better than I expected. Meanwhile Liz tries to take control of her life and Avery gets kidnapped in North Korea leading to a guest appearance from Condoleezza Rice which gives Alec Baldwin a chance to be brilliant.

[A/A-]

Grey’s Anatomy: “It's A Long Way Back”

It’s as if all that singing was a sort of therapeutic measure for Sara Ramirez to turn out a great performance. Perhaps not excellent, but it’s a season’s best for her as she deals with recovering herself and it’s an arc which functions as a fine backbone for a fine episode. It’s good watching the trio deal with the baby measured against some other interesting arc. Don’t we all wish Teddy and her non-husband would just bang and get over it? Yet, it’s not an annoying storyline. Things get even more interesting watching Meredith and Alex being unethichal. That scene with Devine and Pompeo where Adele thought she was Ellis was well delivered and it’s interesting watching Meredith break the rules to ensure she gets the best treatment. In the same way watching Alex almost blackmail a patient (excellent guest turn from Doris Roberts) for money to help some children in need. It toes the right line of ambiguous because it’s all in his race for chief resident and yet you get the feeling that Alex is truly just happy helping those children. I’m actually glad to have Grey’s back, it’s going well...

[B/B+]

Private Practice: “What We Have Here”

I sound like a broken record, but I’m really missing this show with Audra McDonald. It’s a fair delivery, but it continues a trend of well constructed, but trite episodes which the show has been riding on for some time now. Violet confronts, for the final time one can assume, her past with Kathy and moves forward with “allowing” Marshall to date the reviewer who hated her book. For some reason, Violet has lost that cadence that she first had and she’s become a bit of annoying character. Speaking of annoying, as much as I understand Addison’s dilemma the drama between her and Sam seems ridiculous. For now, Charlotte and Coop are the only sane ones. Strickland continues as MVP in Audra’s absence and they have some nice moments together moving towards their impending marriage.

[B-]

Randomness

• I loved Kurt’s utterance about Santana and her Lady Macbethian ways, her worth as a Latina Eve Harrington.
• Dare I say it: I don’t miss Paul Schneider from Parks & Recreation. I’m such a traitor.
• I’m not sure what to think of Deangelo’s terrible salesmanship and obvious eating issues. It just seems disturbing...
• How brilliant was the cake switch between Gaby and Bree?
• Did anyone try following @thelarmi?

Standout Writing

30 Rock A/A-

Parks & Recreation A-

The Office A-

    

Standout Performances

Adam Scott in Parks & Recreation: A-

Alec Baldwin in 30 Rock: A-

Amy Poehler in Parks & Recreation: B+/A-

Peter Facinelli in Nurse Jackie: B+/A-

     

Sara Ramirez in Grey’s Anatomy: B+

Chris Pratt in Parks & Recreation: B+

Jayma Mays in Glee: B+

Tina Fey in 30 Rock: B+

Busy Philipps in Cougar Town: B+

Eva Longoria in Desperate Housewives: B+

Lea Michele in Glee: B+

John Corbett in United States of Tara: B+

Dianna Agron in Glee: B+

         

How was your week in TV?

“That was perfectly measured.”

Today is Dianna Agron's birthday. Glee continues to be the most loved show which happens to be hated or the most hated show which happens to be love. Either way, a lot a people are watching it. Sure, I wish for the awesomeness of season 1 again (less characters) but it's nice to see that the writers are - for the most part - giving Agron more material to work with. I still, generally, loathe Quinn Fabray but Agron is lovely - perfectly measured, indeed.

“Many soldiers would find this preferable to death…”

Source Code written by Ben Ripley, directed by Duncan Jones

I don’t know if I’m over thinking the equation, but I find it interesting how action blockbusters have become almost synonymous with science-fiction blockbusters. Source Code belongs to that specific class of cinema geared – ostensibly at least – at the prototypical 18- 45 male audience but with enough sincerity to appeal to a wider demographic.

The eponymous source code of the title is a computer generated component controlled by the Air Force, it seems. A soldier caught in that limbo between life and death becomes their key to stopping a serial bomber when he returns to the past in the form of a deceased passenger on the train. It sounds a bit confusing, no? The specificities of how the actual source works belongs to the class of cinematic creations which is just the right amounts of potentially confounding scientific data mixed with a certain amount of improbabilities that the audience is disinterested in and which Ripley delivers with enough sensibility that the fact that its very existence is confounding doesn’t act as a potentially exasperating element. It’s not that Source Code is a “character study” – in the strictest of senses, but it’s focus is less on the source code and more on its protagonist Colter Stevens, and in its confident (yet oddly self-effacing way) Source Code exists as a perfect vehicle for Gyllenhaal’s talents. (Can anyone else pull the name Colter, in the first place?)

When I reviewed Love & Other Drugs at the beginning the year I noted that despite its issues it was a perfect chance for Hathaway and Gyllenhaal to use their natural talents – even if the vehicle was less than solid. Source Code is a different genre, but Jake gets the opportunity to play that special type of hero who’s marked by a sort of stand-offish charm. He’s an everyman, but not a common man and I find I oddly humorous that when his Colter must go back to save the world, he returns in the form of a man who’s about as generic as they come. It’s sort of the paradox that is Jake as an actor. He’s not exceptional, but he has that intangible it factor that makes him much more watchable than a number of his peers, and he easily outshines the cast here.

Farmiga gives a puzzling performance, the first half of which she spends seeming a bit uncomfortable either with the character (or the horrific hair-stylist) but it’s a performance that becomes much more nuanced as the film draws to it close. Wright is as bombastic as needs be, but ends up being a little hollow in the end – even if the performance is hardly affects the film either way. It’s the same with Monaghan’s potential romantic interest, she – as with all the of the supporting cast – is serviceable in that they hardly prevent the film from being enjoyable, but they’re a bit ineffectual in terms of creating indelible characters, not that’s a terrible thing. It’s Jake’s films.

The most significant thing that occurred to me after Source Code was the manner in which contemporary cinema has developed. When our generation was young we were savouring Disney films where that vague concept of magic would give away to a host of impossibilities which were urged to “believe in”. Now that we’re older Disney has been replaced by any random studio, the films are animated no longer and magic has been replaced with science-fiction. Underneath the cantankerousness, I suppose I’m a sentimentalist at heart so I find the development satisfactory.

B-

Flashback: Gangs of New York

They say that retrospection gives way to perspective which gives way to the most effective view of things. I’m not sure that always applies to the cinematic world, though. If retrospection doesn’t precipitate nostalgic remembrances, it gives way to unnecessarily harsh points of view on certain films and Gangs of a New York is a fine example of that. Perhaps, it’s because a retrospective view at its ten Oscar nominations and zero wins suggests a less than impressive awards’ tally but by now you’d think that we’d stop using Oscar wins as a barometer for quality. All of Scorsese’s films this side of GoodFellas are befallen with the misfortune of being compared, unattractively, to his early work and next to The Age of Innocence, Gangs of a New York is the one accused most often of gratuitous style over substance. (Incidentally, both star Daniel Day Lewis, whose birthday is today.) I’m neither here nor there on whether that commendation holds up, but now is as good a time as any for a retrospective look at the 2001 “epic”.

I don’t know what is about Scorsese, he’s almost always regarded for his meticulous attention to detail but even in the consistency of his films – thematically – I’m always impressed with the scope of his imagination. In more ways than one Gangs of a New York is an ideal predecessor to The Aviator. It’s not just the presence of DiCaprio, Scorsese’s interest in history is potent as is the expansive epic style which he puts to more careful use in The Aviator. Scorsese’s films are always notable for their technical prowess and Gangs of New York makes extensive use of that – Michael Ballhaus photography in particular belongs to that specific school of lush which is so often mistaken for gratuitousness. Of course, that’s probably why it’s often cited as one of the leading examples of style over substance.

I won’t deny that I have massive nepotism when it comes to Martin Scorsese, and I’d be the first to admit that Gangs of New York has a story which has its issues with structures but I can’t criticise it for its actual story which I’m impressed with. Zaillian is a bit of a hit and miss with his screenplay credits, but Gangs of New York for me falls in the realm of the hit. The film is defined by its grittiness and it’s easy to give that credit to Scorsese because it’s a coarseness that a number of his films are marked with. But, Zaillian deserves a significant amount of credit for what exists as an impetus for the entire film. The important word there is impetus, though, because like so many of his films Scorsese’s scope overshadows the written word.

I mentioned Daniel Day Lewis in my opening paragraph, and his Bill the Butcher defines the entire film. I hate that memory of the supporting cast is eviscerated because they do turn in good work. But, it is Lewis’ film and he turns in what’s arguably the greatest performance of 2002 – which is significant considering the great work turned in by actors that year. This isn’t my favourite performance of his, but on his birthday today I can’t help but turn to Gangs of New York to remember him by. Lewis is an masterpiece, Gangs of New York is bit too flawed to be one. But, where they can shake hands is in their scopes. Love it or hate it, it’s difficult to deny the majesty of Scorsese’s intentions here, same goes for Daniel Day Lewis. The film, like it's main actor demands your attention at first glance and then it surprises with you with some distressing moments of poignancy.

       

What did you think of Scorsese's Gangs of New York? How would you celebrate DDL?

Random: Lindsay Lohan

Did anyone watch Lindsay on Jay Leno this week? I'm such a ridiculous sentimentalist I still feel a little misty when I see Lindsay Lohan movie pre-Herbie Fully Loaded (and Bobby). I still stand by belief that Lindsay could be a great actor if she tried, but with all the terrible publicity recently that seems incredibly unlikely. Of course, though, she was on talking about her plans to turn her life around what and it does seem sincere, but I guess I can't be blamed for being less than certain about where that's going to go. Hopefully she gets back on track and in the next few years she can actually turn out a great performance.
        
For now, I'll placate myself with Lindsay back in the day.
         

poll by twiigs.com

"Never mix, never worry."

With only about two hours of leg-room she moves from this...

...to this.

Today is Sandy Dennis' birthday. I suppose, in a way, it's awful that her Honey from Who’s Afraid of Virginia Woolf is the performance of hers that I always reference, but it's easily one of the strongest supporting performances ever - so I think that I am forgiven. What makes Sandy's performance all the more special for me, though, is the fact that Sandy is really the only true supporting player in the film. Yes, George Segal is a supporting actor but he's much more a character of the main arc than Dennis who's forced to perform on the sidelines and still give an absolutely brilliant performance. Not that I can call it my favourite, though. I can't choose between the quartet...but Dennis is brilliant.
          
Happy birthday.

“Woman to Woman”

Last week I gave a listing of films with duo-male leads, and this week it’s time for the women. There are a number of films which depend on strong female ensembles - The Hours, Hannah & Her Sisters, Howards End, Sense & Sensibility, but in each there’s always one player who takes precedence - if they were eligible you know who I'd vote for, right? For me, these five films below do a fine job of paying equal attention to both participants in the duo making for some strong girl on girl action. Interpret that as you will.
               
Melanie Lynskey and Kate Winslet in Heavenly Creatures (1994)

I know it subverts the entire film’s existence as a vehicle for Pauline’s development, but for me Heavenly Creatures doesn’t really begin until Juliet appears on screen. Lynskey and Winslet are two starkly different actresses, which allows them to do such good work opposite each other – added to their youth which makes their performances less pretentious than older actors might have played it. As far as screen-time goes, Juliet is a supporting player – but I can’t think of this one in any other way than as one with c0-leads.

Shirley MacLaine and Debra Winger in Terms of Endearment (1983)

I, with my high sense of cynicism, like to think of the Oscar win for Terms of Endearment as the most bogus picture win of the eighties – which is saying something considering the slate of winners that decade. The film itself doesn’t particularly hamper the mother and daughter bond of MacLaine and Winger, though a significant amount of it develops with them away from each other. At her best I’d support MacLaine’s win, though there are times I side with Winger. Either way, it’s a fine alliance.

Annette Bening and Julianne Moore in The Kids Are All Right (2010)

There’s little doubt in my mind that The Kids Are Right worked so well because of the alliance of Bening and Moore. It was the first thing that drew my interest to the project, and the chemistry they maintained throughout was what kept me interested in it long after. It’s not just because they’re playing lovers, there’s a striking rapport between them – even as actors (just watch them at the Golden Globes) and it’s that modulation which the film depends on.

Geena Davis and Susan Sarandon in Thelma & Louise (1991)

I feel a bit ridiculous admitting this, but for a long time I couldn’t warm up to Jodie Foster’s work in The Silence of the Lambs because I resented her winning Oscars not only over the Countess de Mereteiul but over one of the strongest female duos – Thelma and Louise. Excessive parodying has turned this into something of a cliché – but the redheaded twosome of Sarandon and Davis is a highpoint of the nineties. Of the five pairs on the list, I don’t think any complements each other as well as they did, but Sarandon has a way of working well with her women (even in lesser fare.)

Anne Baxter and Bette Davis in All About Eve (1950)

There are so many reasons that this one’s a classic. What ii find most interesting about All About Eve when it comes to the duo lead front is the fact that both Bette and Anne have brilliant scenes opposite each other, and on their own and yet the film still manages to foster excellent supporting roles for Celeste Holme and George Sanders (among others). Like with Amadeus last week, I can’t choose between Eve and Margot. Both women are legends of classic cinema, and both offer up legendary performances.
           

Do you think these five duos have evenly matched players? Which is your favourite? Who’s missing?

“Nice day, if you like that sort of thing...”

London Boulevard written and directed by William Monahan
              

With only two writing credits to his name William Monahan has already established a type in his films. Like its predecessor, the narrative of London Boulevard begins with its protagonist’s expulsion from the penitentiary. Colin Farrell isn’t nearly as explosive as Billy Costigan, although he too has been to jail for violent tendencies. Like the tagline – the very trite “Not Every Criminal Wants to Be One” – suggests Mitchell isn’t devoted to the crime lifestyle. His friend Billy (a surprisingly in-form Ben Chaplin), part of an organisation of loan-sharks takes him under his wing and in a string of happenstance incidents Mitchell ends up on the wrong side of a gang war.

The biggest credit of London Boulevard is the hotchpotch of actors that decorate it. Monahan has an ear for dialogue, so when London Boulevard is at its best it gives supporting players like Anna Friel’s kooky sister, David Thewlis austere actor or Ben Chaplin’s officious boor a brilliant chance to submit some inspired performances but Monahan approaches the entire thing in such a bipolar manner at times that he seems unable to discern which story he wants to tell and the characters come off the worst for it, none more than Keira Knightley’s Charlotte. She is the reclusive young actor who Mitchell becomes a bodyguard for and it’s easily the most puzzling aspect of the film, already plagued with a number of question marks. In a more structured the reluctant chemistry between Farrell and Knightley might have been more successful, but despite the former’s striking sophistication and the latter’s fine attempts at suggesting deeper issues with her character Monahan’s doesn’t really allow the tenuous relationship the two share to go anywhere.

It’s not an overstatement to say that Monahan is at the root of the faults of London Boulevard – after all, he is the writer and director of the entire film. I’m loathe to make an excess of comparisons to The Departed, but I’ve got little else to go on when considering his technique and it occurs to me that whereas he was working on a well defined paradigm with the move from Infernal Affairs to The Departed he’s not as lucky with London Boulevard. He’s adapting a novel this time, and as good as he is with actual dialogue he doesn’t yet have a gift for distinguishing appropriate structure – it’s something that London Boulevard lacks terribly. It’s not so much that it’s wrought with plot-holes, as it is inorganic with the movement from subplot to subplot.

There’s the distinct sense of a better movie existing below the surface, and there’s also a stronger sense of the actors make vivid attempts at giving a better performance than the movie allows them to. London Boulevard is hardly a wasted effort, there’s a number of things to take from it – for example, Monahan does have talent, Anna Friel could make for a brilliant character actress, and Colin Farrell has the ability to command the screen even in less inspired fare. It’s not completely rewarding, but it’s worth the effort, if only to point out its flaws.

             

C+

“Happy Birthday, Renee.”

I’ll just come right out and say it – I like Renee Zellweger in Cold Mountain. I don’t like to make excessive use of the superlative, but this is probably the most hated Oscar win of the last decade and with it Zellweger has turned into arguably one of the most loathed Oscar winners of all time – which is a shame because she’s a fine actress, and a talented comedienne. Sure, she’s not my favourite actress – or anywhere especially near, but as it’s her birthday now is as good a time as any to count down my five favourite performances of hers.

Dorothy Boyd in Jerry Maguire (1996)

“This is an occasion for genuinely tiny knickers.”

 Being a romantic/comedy lead is something that seems less than impressive but even though it’s Cuba and Tom who were nominated Renee’s Dorothy is imperative to this one. It’s such a sweet performance (no other words come to mind) and overflows with honesty, which is important to measure of protagonist against. Without her, it would be difficult to love Jerry as much.
         
Bridget Jones in Bridget Jones’s Diary

“ I just want to be inspired.”

It’s her first Oscar nominated role, and it’s become a little less prestigious because of that sequel but the whimsy humour of this one is irresistible. No, it’s not Pride & Prejudice (regardless of what they say) but it’s funny enough and Renee sells it all – the insecurity, the accent and the humour.

Barbara Novak in Down With Love

“This is Barbara Novak.”

This remains as one of the most hilarious romps of the decades. McGregor and Kidman had Moulin Rouge, Zellweger and he have this – and sure, this might not be as great as Moulin Rouge, but it features excellent work from the two leads – especially Renee. She manages to pull off the film’s less than stellar portions (remember that revelation monologue?) and she pulls it all off with a great amount of charm that a number of actors wouldn’t have been able to accomplish.

Mae Braddock in Cinderella Man

“Every time you get hit, it feels like I'm getting hit too.”

In a smack-down, I’d be more willing to support this Crow/Howard film than A Beautiful Mind and it’s a shame it was such a miss with the awards’ bodies. I’d have nominated Zellweger’s excellent turn as wife of boxer Jim Braddock. There’s real potential for this role to turn mawkish, but Zellweger avoids it. It easily triumphs as the strongest dramatic work I’ve seen her do – it’s a shame so few remember this one.

Roxie Hart in Chicago

“He loves me so, that funny honey of mine...”

I don’t understand when persons lament the potentials who Renee won the role from (Colette, Theron) – perhaps they might have been good, but it’s folly to deny that Renee was excellent here. Catherine uses her voice to sell Velma and Renee uses her excellent comedic timing to good use. It’s a tricky character, but Renee sells it excellently. Sure, she wasn’t my favourite of the lot – but I do love the performance nonetheless.
        
To celebrate Renee's birthday, which performance would you rewatch?

Scene On A Sunday: Hairspray

You’d be hard-pressed to find a film from 2007 that’s as daring in its outlandish – and sometimes misguided – ideals as Hairspray. One of the worst things about the alleged “renaissance” of musicals that happened when Moulin Rouge! turned into something spectacular was the ridiculous hope everyone started getting that every musical to come with be an Oscar bound package. There’s little logic in expecting something like Hairspray to be up the Oscar’s alley – at least in the way of the major categories. At it remains heart it’s a ludicrously, hilarious romp that’s easily one of the strongest comedies of 2007. I’m not that fond of Adam Shankman generally, but his stargazing works well for me in Hairspray where Michelle Pfeiffer easily emerges as best-in-show for me. Sure, that’s about as nepotistic a judgement, on my part, as they come but Michelle is such a delightful slice of snarky as Velma Von Tussell – and her first number is a killer.

I love how her voice is what introduces us to the number. Michelle is so gorgeous, but her voice is what I remember most from her performances. Not even her singing voice (there’s no way she’d have been as brilliant as Catwoman without that voice of hers). And as we watch those dancing feet we drift into the opening bars of the number.

Velma (OS): “Back step, cha-cha-cha. Side step, front step.”

Velma: “Back and turn.”

There come Tracy and Penny to be taken down by our resident Queen...

Velma: “Front step, cha-cha-cha. Tammy, sharper. Side step, front step. Back, again”

Tracy: “Oh my god, Penny. There’s Link. Link. Penny, pinch me.”

It’s a slight role, but Amanda Bynes is probably at her cinematic best here (I saw cinematic best because I had a soft spot for her work in What I Like About You).

Penny: “You told me to.”

Tracy (OS): “I can’t believe I’m really here auditioning.”

Penny (OS): “I can’t believe I’m really here watching you audition.”

Velma’s intent focus here never fails to amuse me. Villain or no, she has astoundingly good work ethic.

Velma: “Front step, cha-cha-cha. Back step, cha-cha-cha.”

Zac Efron, too, is at his best here. Because it’s such a satirical piece it gives the leads a chance to play the stereotypes in the most over-the-top of ways and Efron is a good comedian when given the chance. Case in point – his best moments in Hairspray happen when he has these random comedic bits, and not when he maintains his gauche characterisation as the romantic lead.

Penny and Tracy look so innocent there, ready for a good tongue-lashing in 3, 2, 1...

Velma: “Side step, front step. Back and t- Oh, Amber, look at this motley crew.”

There’s little that’s deliberately funny about “Miss Baltimore Crabs” – it’s a performance number in every sense of the word and it depends on Pfeiffer’s expressions end enunciations. I love her expression above.

Velma: “Oh, this town sure has gone downhill since I was crowned Miss Baltimore Crabs.”

Brittney Snow is a lot of fun here, too. She’s another young actor who needs a good role. She’s such a good contrast and complement to Pfeiffer. Her youth is a perfect foil to Velma. It’s such a nice touch how as soon as Velma begins her quasi-monologue Amber (along with Link) being sighing. They’ve heard this one before

Velma: “♫ Oh, my God. How times have changed. These girls must be blind or completely deranged. ♫”

I honestly wish they’d get a technical Oscar for choreography. It’s noting especially intricate, but it just works in the ensemble setting with Pfeiffer in the middle there. Just like there's an Oscar for specific song numbers, there should be one for specific dance numbers....but I am digressing.

 

 Velma: “♫ But time seemed to halt, when I was Miss Baltimore Crabs. ♫”