Encore’s Birthday Marathon: Day 14

I posted a snippet earlier “celebrating” Clint Eastwood’s birthday. 2004 wasn’t the first year that I watched the Oscars, but it was the first year where I was actively participating. I had my prediction list, my wish list and I was painfully invested in the outcome of the “race”. So, it’s only natural that Clint’s visage is what appears when I think of all that went wrong with me and Oscar on that first fateful night. But, I think I’m already overreaching...

               

Around the time that the precursors were being handed out in that 04/05 Oscar season I remember making my sister print out the entire roster of the Oscars in the top 6 categories from 1932 onward. I’m still not sure what I hoped to achieve by this (as you can imagine it was a gargantuan amount of paper) but I ended up memorising a great deal of it so that I turned into a prodigious Oscar-trivia go-to person. I’ve grown past the embarrassment in that I can actually admit to it without cringing, much, but it’s only proof that when I commit to something I really do commit. General jadedness had made me lose that zeal towards the Oscars but I still retain that uncontrollable intensity (proof) and now I have this strange relationship with the Oscars – and all general awards’ ceremony, really. Jose said that if you try really hard you can blame every terrible thing about movies on the Oscars. He was deliberately being sarcastic, but is interesting how the Oscars have managed to take on that larger than life existence, which only adds to that conflicting relationship I have with them. It's too early in the year to spend talking about the Oscars. Right...?

           

It has been a while since the Oscars. How do you feel about them now?

On His Birthday...

I have a vague antipathy towards Clint Eastwood on principle. On two separate occasions he beat out two of my favourite films for Best Picture at the Academy Awards and as silly as it is, I’ve never gotten over it. The fact that I’m hardly a fan of his work generally is just insult being added to injury. I do love him for Mystic River, though. It does appear on my list of favourite films, and with good reason. I think it’s almost perfect. I’ll forget the injustices done to James Ivory and Martin Scorsese (and the inadvertent ones done to Annette Bening and Clive Owen) and instead revel in the goodness of Clint. 

Encore’s Birthday Marathon: Day 13

Continuing the 20-day Birthday Marathon...

         

Once upon a meme ago (#4), I made mention of the fact that I was (un?) lucky enough to have parents who were apathetic to my movie watching experiences so I saw my first R movie Dangerous Liaisons when i was about 10. It’s probably an egg and chicken argument because I’m not sure if I was already so adult oriented that the adult themes never managed to bother me or if over time my exposure to those “adult” films eviscerated any sort of reticence. What’s weird, though, is that I’d end up censoring my own self so that I’d seek out adult themed ones like Dangerous Liaisons and Fatal Attraction and avoid ones like The Blair Witch Project or even Robert Wise’s The Haunting (and I love Robert Wise). Notice a trend there, though? I have an appalling blind spot to the horror genre. When I took part in Andy and Heather’s communal blogging event on horror films I ended up choosing What Ever Happened to Baby Jane? which is more distorted camp than pure horror, horror doesn’t work for me. By nature, everything that I like in film is absent in the horror genre. It’s like that quote from Bright Star where Fanny says that she likes witty sayings and John counteracts by saying that she likes things that make her start without making her feel (I do love working Campion into regular conversation). That’s horror, in a nutshell, for me. It’s all about the visceral thrills, but more often than not I tend to feel to feel no lasting impact from the machinations that make up the whole.

       

That’s why I tend to think of horror less as a genre on its own that a subgenre that buttresses others. Like, there are tinges of horror in Sleepy Hollow making for a sort of vaguely satirical horror story, or The Silence of the Lambs which is a drama with horrific undertones. Of course, that’s just evidence of my own blind spot turning into the overriding existence of horror – generally – in my mind. I keep meaning to delve a bit more into the horrific landscape, but I’m awfully disinterested in the whole manifestation of things horrific.

             

Any big love for things horrific? What was your first R film?

Feeling Like...

“Yes, I know I've played these women, but I'm not really conniving at all.”

Because Katharine Hepburn is my favourite actor, I tend to think of all other female actors that I like in terms of her. Helena Bonham Carter has her frankness; Cate Blanchett has her perfectionist nature; Emma Thompson has her charm, and Annette Bening has her strong screen presence. A few months ago Nick Davis (of Nick’s Flick’s Picks) wrote a brilliant send-up to the Bening, but I couldn’t let her birthday past without making note of her worth to me.
      
I first “met” Bening via Sydney Ellen Wade (of The American President) and I’d forever consider her harsher characterisations against this smart, yet still idiosyncratic lobbyist. Annette is a bit indistinguishable from Kate in the sense that each of her performances retains a strong sense of Annette while still being diverse performances. The difference, though, is that I’ve never seen any film make use of her warmth as much as they make use of her more prickly sides. It’s so that she’s come to be categorised as the de facto ball-buster and the less attentive of audience members are willing to categorise Deidre Burroughs, Carolyn Burnham, Julia Lambert and Nic as extensions of the same self. They are extensions of the same in that they’re all from Annette but the thing about her is that her harsher tones are so loud the quieter moments where she elevates her characters are often missed. But, in the grander scheme of things I cannot say that I mind - more Bening for me.

Jean Harris in Mrs. Harris (2005)

 

“I realize that you are just a secretary and weren't as fortunate as I in graduating magna cum laude from Smith, but surely any well-read 10-year-old knows the meaning of the word bizarre.”

           

Nic Algood in The Kids Are All Right (2010)

“Well I need your observations like I need a dick in my ass!”

Deirdre Burroughs in Running with Scissors (2006)

“Augusten. Don't smoke my cigarettes. You have a pack of your own.”

Carolyn Burnham in American Beauty (1999)

“There happens to be a lot about me that you don't know, Mr. Smarty Man. There's plenty of joy in my life.”

        
Julia Lambert in Being Julia (2004)

 

“B-E-N. Ben!”

          

Pick one.

Encore’s Birthday Marathon: Day 12

I don’t think I’m the first person to make mention of this, but I do find it ironic and not just a little humorous that the era of Hollywood most notorious for its debauchery and other hijinks was the time when they were most likely to spew out all their religious cant. I used to live, for about three years, with this overly religious aunt of mine and she was a big fan of religious fare and whatnot. I swear I’ve seen every incarnation of the Jesus’ life – from Jesus Christ Superstar to some awful animated shtick which I wouldn’t mind getting lobotomised to forget.

So, naturally, it’s no surprise that my favourite religious stars one of the least holy of Hollywood’s stars and also happens to eschew the strictest of religious principles. I’ve spoken about The Robe before, and it was on last month when they were counting down to Easter. I don’t know if it’s my perspective, because there really is little that’s palpably irreverent about The Robe (well except for Burton’s deliciously over-the-top performance, I have no excuse for loving it yet I do) but I still think of the film as an impertinent religious pseudo-masterpiece. It’s probably because the last scene takes place in the palace of the very histrionic Caligula and the only who tops Burton in the histrionic department in The Robe is Jay Robinsonb who’s so ridiculous he seems to have walked off the set of some comedy show and thrust into 1 AD.

Next to The Robe I’d probably cite The Ten Commandments as a worthy religious adventure. Once again, though, it’s the more visceral side of the film that makes me a fan: enter Anne Baxter. In my defense, it’s evidence of good screenwriting that the generally known story of Moses can be turned into a pseudo-love triangle (quadrilateral?) I’m not a big fan of Charlton Heston as it is, but add him to Anne Baxter and then toss in Yul Brynner and Yvonne De Carlo (who is not often remembered but is lovely here) for kicks and it’s a party. I’m a bigger fan of The Robe but I’d never the technical brilliance of The Ten Commandments. I always wish DeMille’s film had made a bigger showing at the Oscars that year. (They lost to Around the World in 80 Days for god’s sakes.) But, that's awards for you.

          

The Robe or The Ten Commandments? Or no religion?

It sure is a faceoff. We're recasting All About Eve this month on at the Large Association of Movie Blogs. More details here.

Encore’s Birthday Marathon: Day 11

For a number of audiences John Hughes has the monopoly on bathetic teenage angst. He has a way of making the decidedly trite machinations of his teenage characters seem profound. (The Mad Hatter did a nice post on The Breakfast Club, my favourite Hughes' film.) I didn’t grow up in the eighties so Hughes films don’t resonate as much with me as teen flicks of my era. The curious thing, though, is that I can’t think of a great number of teen flicks of “era” that do manage to deliver on the pseudo-profundity of Hughes. Even if you eschew the Hughes’ flick of the era, it’s difficult the quick-wittedness of an eighties teen flick like Heathers. It’s a bit like when I was talking about the trajectory of children’s film yesterday. The more recent ones seem below par and if the nineties were the time for children, then the eighties was the time for the youths.

              

The thing about perspective, though, is that you never know that the period you’re in is flawed until you come out of it. I did enjoy living through the nineties and surviving those terrible teen movies, but I can think of one teen film from the nineties which I liked – and that was in spite of itself, She’s All That. If you squint, you could probably call Cruel Intentions a teen movie, it is swathing with teens, but I still think of it as Dangerous Liaisons in street clothes so of course I like it. (I know Nick’s big on Alicia Silverstone, but I can’t admit to any big love for Clueless).

                  

It gets better in the early part of the aughts. I’m not alone (although, I’m part of a small group) when I say that Bring It On is a great film. It doesn’t reveal any sage knowledge about teen-human relations, but it’s a more than enjoyable romp as is Save the Last Dance (although that one’s much more angsty and serious). Of course my favourite teen movie revealed in my life time is Mean Girls. I’ve spoken to excess about that one. What’s interesting, though, is that as good a film it is – it still lacks that sense of community which Hughes tends to facilitate in his films – The Breakfast Club more than any other.

It’s no indication of my personal inclinations – I’m a bit of a loner myself – but I do love that sense of camaraderie in teen flicks. It’s like that scene in Footloose – I have to admit that there are times when that movie’s downright terrible but that scene at the end where everyone comes together dancing is just brilliant, for me (and I don’t even like dancing). I’d say that even more than films made specifically for children teen flicks depend on that decisive bit of zeitgeist nature in us all. It’s probably why modern teen films are so lazy about what they do. They’ve got an assured audience of sorts, so they don’t have the motivation to do better, which is a shame. (More on the Marathon.)

        

Any teen favourites?

TV Week in Review: “23rd - 25th May”

It’s a scant week, only five shows too review and three of them season finales. In case you haven’t already heard the awful news United States Tara of Tara has been cancelled. I can’t say it spoiled my week, but it’s really awful that that great cast is out of work – and the show is so innovative too. What a shame. On with the reviews...

             

United States of Tara: “Bryce Will Play”

Halfway through this season this show moved from offbeat comedy to offbeat drama and now I’m torn between what genre I think it fits into. Regardless of genre, it’s still a great show. Bryce is more disturbing that he seemed last week moving on to killing the some of the other alters. Shoshanna is my favourite of Tara’s alters, so it’ll be sad if she’s really gone. Watching Tara struggle with Dr. Hatteras was an excellent arc and the closing with Bryce was brilliant. Kudos to DeWitt in that scene, too. She didn’t have a great number of scenes this week, but she had three great scenes all of which she sold. Once again, Marshall is annoying me. I don’t get how he didn’t see the fact that the movie would hurt his father’s feeling. Corbett, too, is doing some fine work this season. For me, he’s finally falling into “Leading” status.

[A-]

Nurse Jackie: “Have You Met Ms. Jones?”

It’s weird, I feel no great interest in Jackie as a character but I love those shows. I keep wanting Eve Best to get more screen time, she’s especially on point with her short scenes this episode – especially loved her drinking her bubbly by her lonesome. Jackie’s getting desperate, but the thing with her is that I’m never sure if she’s sincere or not. Kelly might be on to her secret, which is surely going to be interesting. Zoey’s arc with her boyfriend was very cutesy, but Merrit is so much fun to watch. Then, there’s Coop and his new facebook friend and future wife which is just the sort of nonsense that Facinelli can sell. It seems like that patient may be interested in him, which could be interesting. Anything for more Coop (and those little digressions with him and Thor which are always hilarious).

[B+/A-]

Glee: “New York”

I could probably pontificate ad nauseum on the topic of Glee, the season generally, the finale specifically and a number of other things. I’ll probably get to some generally ruminations before the Emmy nominations are announced, but for now – on the finale. It’s a generally tepid closing and I broke my own rule and read three reviews of which, all of which were essentially pans. The logic of the New Directions and their original song machinations is ridiculous and all but assures their lack of success at the competition (although, I can’t praise Vocal Adrenaline. Obviously Jesse’s Adrenaline > Sunshine’s Adrenaline. They’ve been planning on this for so long, it seems like a lopsided conclusion to the journey to nationals. It had its moments, though. Sure, Quinn’s “plan” for destruction was especially disappointing but it was nice seeing the original Cheerios back together, sort of. I always find Colfer least taxing when he’s opposite Michele and their scenes were lovely. The Finchel drama was awfully trite, even though the boys’ serenading them was great (only because of Salling and his accordion). Rivera kind of stole the show with her Lima Heights tirade and it’s generally enjoyable, but still sort of blah. Eh, hopefully they use the summer to regroup.

[B]

Modern Family: “The One That Got Away”

The episode is generally solid, but I don’t know if it’s the excess love I’ve gotten for Cougar Town but I’ve gotten a bit immune to the antics of the Dunphy/Pritchett clan. Sure, things like Claire and Mitchell bonding was excellent or seeing Manny and Cameron share those sweet pseudo-father/son moments was a nice change. And of course, Phil talking about his cheerleading past is always appreciated. It’s solid, I say, but it’s not feeling like must-see episode. Definitely enjoyable, and considering that the season was fine it doesn’t do it any harm. I felt entertained, but not especially so.

[B/B+]

Cougar Town:“Something Good Coming”

What could be better than a one-hour Cougar Town? This felt like such a brilliant throwback to those 90s sitcoms where the zany group would relocate to some vacation place and go crazy and it was the good sort of crazy. Everything was on point, from the unholy trinity of Andy/Ellie/Bobby to Jules and Grayson’s baby issues to Laurie stealing the episode with her vacation boyfriend and getting Travis to come back home it was all just excellent. Then, there were those great side gags like that guy making all those songs sound depressing (“Love Shack” as a soulful ballad was brilliant) and Ellie’s toothbrush rantings or the candle holder functioning as a sort of wineglass. It was just a fine closing to a great season. I hate that it won’t be coming back until the middle of the next season. I really hope it’s not suggesting an imminent cancellation.

[A-]

            

Standout Performances

Toni Collette in United States of Tara A-

Busy Philipps in Cougar Town A-

Christa Miller in Cougar Town A-

Ty Burrell in Modern Family B+

Courtney Cox in Cougar Town B+

Edie Falco in Nurse Jackie B+

            

Jesse Tyler Ferguson in Modern Family B+

Naya Rivera in Glee B+

Peter Facinelli in Nurse Jackie B+

Lea Michele in Glee B+

Rosemarie DeWitt in United States of Tara B+

John Corbett in United States of Tara B+

Eve Best in Nurse Jackie B+

          

Next week my two showtime shows are off until the week after and most of the network shows are on hiatus. Any new shows I should pick up? Any shows that I watched, but didn't review this season you'd like me to write about? (The Big C, Boardwalk Empire, The Closer, True Blood, Mad Men among others) I just recently decided to watch last year’s recent Entourage season 7 (their last will be this summer) and I have to say, I still think it’s a great show.

           

What did you watch this week?

Encore’s Birthday Marathon: Day 10

I covered The Wizard of Oz on the very first day of this marathon (I’m now half through) and the always dedicated Brandon of Movie Mania made mention of a film I used to love back when I was a child – Matilda. Truly, the movie’s a bit ridiculous if you think too strongly about it, like most childhood fare is, but it stars the generally delightful Mara Wilson (aka known as the ghost of Natalie Wood in the remake of Miracle on 34th Street). In case you’re one of the few who’s never heard of Matilda it’s about a young girl who has the ability to perform telekinesis which leads her to an ultimate standoff with her school principal – Mrs. Trunchbull (played by Pam Ferris), who seems to be the mettle that people like Sue Sylvester were based on.

                

 I would still watch Matilda today, and though I wouldn’t be entranced with the machinations I would be, to be degree, charmed by its general lilt (Danny DeVito as a ham has a certain irresistibility to it) and I have to wonder why modern day concepts of the prodigious child battling humans don’t hold up as well. I’ve become a de facto connoisseur of children’s cinema because my nephew insists on me watching them with him. Now, as I’ve confessed, Matilda is certainly no slam-dunk in the execution department. The entire film is made up of a wide foray of stereotypes, and Rhea Pearlman’s outlandish mother is the closest thing we get to true emoting. But, I can watch it and grasp some semblance of sincerity which is so sorely lacking in something like Spy Kids (pick a number) or The Last Mimsy.

                      

Incidentally, The Last Mimsy takes me back to one of the greatest childhood films in memory – Jumanji. It’s consistently entertaining, and is excellently put together. Maybe, and this is just a maybe, it’s not an indomitable giant of cinema but I don’t think I’m overreaching when I say that they don’t make them like this anymore. It’s why I don’t really get the concept of “children’s” cinema anymore. True, Pixar – for the most part – and other animated flicks like Corpse Bride, The Fantastic Mr. Fox, Coraline and a few others offer legitimate children’s entertainment that’s both devoid of tricks which reveal shameless evidence of pandering and with enough logic to be just as fresh and innovative for an adult audience, but – and maybe I’m underestimating the situation now – it’s at a deficit. That seems ironic. They’re making much more films now than when I was child, you’d think the quality would increase exponentially too.

              

It’s not that the situation has reached a place where I’ve got nothing to watch with my nephew. If hard-pressed, I have no problem with making him watch the slew of greatness from the nineties. I just wish that more modern films could pull off that childhood exuberance with a simultaneous blend of logic and earnestness. In retrospect, Matilda was probably the wrong film to open this conversation with...

          

What do you think of the state of children’s cinema?

Encore’s Birthday Marathon: Day 9

I was listening to Rufus Wainwright’s Carnegie Hall Judy Garland Concert last weekend. I’m not the biggest Wainwright fan, but he’s a great songwriter, he’s got a good voice but his secret weapon is his humour. He’s just hilarious in concert. The thing is, I’m not altogether infatuated with Judy, really. I like her, she’s so naturally convivial that I can’t imagine anyone not liking her. Still, as much as I love her musical oeuvre in classics like The Wizard of Oz and A Star is Born I don’t ever rush out to see a film just because she’s in it. Strangely, too, my favourite of her is the non-singing, non-dancing work she does in Stanley Kramer’s Judgment at Nuremberg, go figure.

    

The reason I bring up Judy is because I recently watched Easter Parade (somewhat trite, but generally enjoyable) and it got me to thinking about films of the era, well MGM musicals to be exact. I’m a somewhat reticent fan of the musical genre, but MGM musicals are one (of my many) cinematic blind spots. Of course, it’s because that whole period from the 30s to the 50s is a bit like a blind spot for me and I don’t know if it’s because of lack of chance or lack of interest. I confess that I like Fred Astaire more than Gene Kelly, but it’s a bit like deciding that I like Todd Fields more than Todd Haynes. I like them both (Field a bit more), but I don’t go crazy over either. School’s as good as out for me (one more insufferable exam to go) and I think the holidays will be as good a time as any to get acquainted with those lost years. Sure, I’ve seen almost every Katharine Hepburn film form the era, but almost everything else is fair game – well, the musicals seem “fairer” than anything else.

           

What do you think of the 30s-50s in cinema? Which films (or musicals) stand out?

       

(More on the birthday marathon.)

Encore’s Birthday Marathon: Day 8

More pre-birthday musings...

            

Whenever I’m asked which city I’d most like to inhabit I always say Paris. It’s just because I have a sort of obsessive attraction to everything French, even though my knowledge of the language remains sparse after years of school French (I’d probably be a fish out of water, a la Dave Sedaris in “Me Talk Pretty One Day”. As far as being a lover of all things artistic (heh) goes, though, I’d probably choose New York in a heartbeat. Jose was only recently fêting it (well, the Met actually), and with good reason.

 

As far as cinema goes Woody Allen seems to have the monopoly on the city. It probably makes sense because he exudes that sense of zany neuroses that people tend to think of the city with. Still, it’s not Woody who I turn to when I hear the name of the city – I turn to Liza, with Z, first. It’s not just because I’m a lover of Scorsese, I really do think that New York, New York is one of the best films of the seventies (and one of the best films to not receive an Oscar nomination). It has its moments of less than perfect scenes, but it’s an ultimately rewarding experience. For me, its themes effectively evoke that gritty realness tied with the sort of magical sheen that best encapsulates the city – larger than life, really. Plus, the film’s most iconic scene – as far as I’m concerned – is about a budding Broadway showgirl. And what else is as indicative of New York as The Great White Way 

                                                           

It’s not just cinema, though. New York is as much a location as it is a character in two of the greatest comedies of the nineties (and all time, probably) Friends and Sex and the City. Sex and the City in particular depends on that attractive but sometimes exasperating hubbub of the city (which is probably why the excursions away from it tend to fall flat). In truth, I can’t say I’d be interested in seeing New York for the tourists’ attractions. It’s like that Friends episode where Joey didn’t even know that the Met was a museum and not the singular of the Mets – the baseball team. If I do end up in New York I’d probably divide my time between the cinema and the theatre, or maybe I’d make time to do a Jane Fonda and go barefoot in the park.

                 

I don’t know. It’s a sort of perfect tourist’s paradise. I’m not a tourist at heart, but I still want to go.

 

Any New Yorkers reading?

Encore’s Birthday Marathon: Day 7

There are some movies that exist almost like historical occurrences. I was seven when Titanic was released and I remember hearing about its infamy long before I actually saw it, so for a long time afterwards I used to think that Rose was some homicidal nut who somehow “killed” Jack. I still wonder if persons really didn’t get the concept behind that final “I’ll never let go”, but I suppose I’m already getting ahead of myself.

     

I can’t think of any movie released in my time which would qualify as a movie event as much as Titanic. On good days I might bet on The Lord of the Rings, but even though – artistically –I prefer it I can’t credit anyone but Cameron with the grandiosity that’s so essential to this one (and I know my fellow Titanic aficionado Nick would agree with me). I already reviewed Titanic for my top 100 countdown but I suppose it’s proof that you like a movie when you keep finding new things to discuss about it.

       

This time around I want to focus with specificity on Cameron’s screenplay. With all the madness that went on the nineties I can’t say that it was some sort of Oscar highway robbery, but I have to admit I still get incensed that it didn’t get an Oscar nod which I silly considering the general unimportance of the Oscar and the lineup which was generally strong. Fine, forget sentimental dialogue and hackneyed concepts, maybe I’m overreaching but the only way to make the fantastical sinking of the ship work in context without turning it into some plaintive docudrama IS to set it against the backdrop of something as emotionally manipulative as a similarly fantastical first romance which is marked by its ephemeral nature. Titanic (the real one) is already a historical entity the movie can only work with the audience being allowed to focus on the disaster to occur and the story Cameron carves is a perfect complement. Emotionally interesting, but not arcane and sanguine enough to not distract from that catastrophic second half. Whatever, I’m a fan.

     

What about you?

Encore’s Birthday Marathon: Day 6

It's all about Cukor today in another string of random vignettes of movie memories coming from yours truly as I count down the days to my birthday.

  

The placement is all random, really, but I can’t have a movie blogging marathon without paying some sort of tribute to the brilliance that is George Cukor. I happened to re-watch The Philadelphia Story this past weekend. Truth be told, I’ve probably rewatched that one more times than I needed to – it’s a great option for relieving stress and it’s that same lightness in tone which George Cukor is usually remembered for. That’s a disservice to Cukor right there, though, by fêting this lone title of his eschewing all the other great work that he’s done.

           

I am vicariously offended, on his Cukor’s behalf, because he does not have as estimable a reputation as most of his peers. I’ll admit that in terms of being prolific William Wyler is probably at the zenith of pre-60 directors but when it comes to actually quality I’m firmly in the camp of Cukor and Kazan. Kazan gets shafted because of that “naming of names” scandal and Cukor gets shafted because he’s a woman’s director. The thing is, I’m still not sure what precisely comprises a woman’s director. I immediately recall that revelatory post Jose did after the Academy awards’ where he pointed out one of Oscar’s more disturbing trends and I suppose a “woman’s” director is one who focuses on women’s issues. If that’s what constitutes the term, there’s no shame in such a director but it seems silly to relegate Cukor’s work to just that, still. I’d be more inclined to call him a director who focuses on societal issues, not women specifically.

   

In terms of superficial longevity most probably remember Cukor for My Fair Lady. Incidentally, as big a fan of Cukor as I am I’m not especially fond of My Fair Lady (admittedly, I’m biased against Rex Harrison as it is). Even if I didn’t have that bias, I’m sure I’d be hard-pressed to find anyone who’d call it Cukor’s apex. Of course, that’s just the typical Oscar fashion where the best and the rewarded are not always immediately reconcilable.

My first immediate interest in Cukor was, of course, instigated by Katharine Hepburn. She devotes a number of pages to him in her biography and together they’ve done some brilliant pieces. For me the trio of The Philadelphia Story, Adam's Rub and Little Women is most prominent. It took me some time to warm up to Holiday (I’m not a fan of Barrie’s play) but those three are the height of that comedic cadence he does so well, which is buoyed by an interest in more serious issues. Still, Cukor’s talent isn’t even consigned that trinity. Just watch how he moves from breakneck pace hilarity with Tracy Lords and C. K. Dexter Haven to claustrophobic tension with Gregory Anton and Paula Alquist. There are some scenes in Gaslight that might even recall some of Hitchcock’s work. It’s an obtrusively far cry from the lighter fare that immediately comes to mind when his name is mentioned. Then, measure that against the poignant melodrama of A Star is Born or the tenacity (occasionally mired by confusion in Wild is the Wind). The man is diverse.

And yet, so many have supreme tunnel vision when it comes to him. If there’s any one thing which Cukor maintains as he switches from genre to genre it’s that delightful bit of irreverence with which he marks his films. That’s probably the reason why Sylvia Scarlett seems so bathetic. It’s arbitrarily rewarding, but its strangeness is probably a bit too garish for the fainthearted. Still, I love Cukor – on his good days and his bad days, he always has something to say.

What I’ve Seen of Him

Adam's Rib A/A-

A Bill of Divorcement B

Born Yesterday B+

Holiday B+

Gaslight A-

Pat & Mike B/B+

The Philadelphia Story A

A Star is Born A-

Sylvia Scarlett B

My Fair Lady B/B+

What Price Hollywood? B

Wild is the Wind B

The Women B+

         

Is there any love lost between you and Cukor?

Encore’s Birthday Marathon: Day 5

It’s another day counting down to that fateful birthday. This one is just an aside post, think of it was a footnote.
       
So, the world is still spinning. So what better way to celebrate that than with some music?

An American In Paris has soured me terribly on Gene Kelly, but Singin’ in the Rain is so much it’s difficult not to find it especially charming. Everything about it is, I even find Jean Hagen’s Lina charming with her poor enunciation and all. My seven year old nephew loves this movie. True, he’s a fan of musicals but the first time he watched it and went around reciting Lina’s “Am I dumb or something?” It’s not that concept for the musical is that freshly innovative, but it’s all about charm. Truly, newness isn’t everything. Something’s a nice, charming good morning is all it takes.

           
As you were with your Sunday.

Encore’s Birthday Marathon: Day 4

Continuing my rambling trajectory towards my birthday…

       

There’s still a couple of hours left in the day so who knows? Perhaps the rapture is still imminent. So, I’ve been thinking what sort of movie high I’d like to go out with and of course it’s a Katharine Hepburn one. I’m nothing if not loyal. It’s only the other day that Wayne was talking about which Cary Grant performance he loves the most and I do love Grant, and I do worship Hepburn and if the world does decide to go kaput it’s important to go out on a high note, but more than a high note – a funny note. Enter, Bringing Up Baby.

        

Bringing Up Baby is always remembered as this sort of seismic moment in both Hepburn and Grant’s careers and to be honest it was some time before I really appreciated its brilliance. Humour is a difficult to establish and Bringing Up Baby is a bit paradoxical for me because I’m usually not that interested in humour that’s tinge with so much physicality. But, there’s a reason that these films get hit with the name “classic”. It’s sort of the paradigm on which more recent, and lesser, comedies of the type are based and what’s so interesting about Bringing Up Baby is how strange it is in contrast to the other Grant/Hepburn films. For once Cary is the straight man and Kate is a loony….and boy, she’s a loony.

It’s not my favourite Kate, but it’s such a fine encapsulation of her in her youth. That insistently quick manner of speech, the charming physicality, that allegedly adlibbed line, “I was born on the side of the hill.” It’s really about as faultless as they come. I wouldn’t mind dying while it plays.

  

More on the birthday marathon.

TV Week in Review: “15th - 19th” (and leftovers from last week)

It was a week of finales, the on ABC, CBS and NBC I got packed with a slew of finales some were perfect closers to great seasons and others were surprisingly disappointing. But before, I’ve got two overdue reviews from the week before.

            

Cougar Town: “Damaged By Love”

Watching Ellie deal with Andy’s family – particularly his officious sister-in-law ends up being a left-field arc for a show that’s often so insular but one which is also quite hilarious. Moreover, it ends up leading to a brilliant moment of niceness between Laurie and Ellie. Their relationship is an interesting thing to watch, and it’s great seeing how much they’ve grown over the two seasons. Jules father is always good for a laugh, and his strip club antics were great to watch especially when it led to the softer moment at the end. Grayson’s arc was a bit silly, but in a good way. I have to give props to Josh Hopkins who I often used to think of as the show’s albatross. He’s been bringing the funny recently.

[B+]

         

Parks & Recreation: “Road Trip”

I missed the second of this, and it was a great one. Not as enjoyable as “The Fight” but it saw two important things happy. Ben and Leslie’s relationship finally got on track (a whole year after he arrived and I noticed their brilliant chemistry) and it’s fun watching Chris be the ultimate cockblocker, naturally oblivious to everything. The arc of Tom’s gameshow wasn’t as joyfully hilarious as his other ideas, but it’s great how the writers are treating the April/Andy marriage with sincerity and her showing up at Ann’s house was a nice touch.

[B+]

           

Desperate Housewives: “And Lots of Security...”

Desperate Housewives: “Come On Over for Dinner”

Well, the seventh season of Desperate Housewives wrapped goes out in a decidedly disappointing double feature. I couldn’t help but wonder why the second episode couldn’t have been tightened up and used as the next season’s premiere. The Felicia and Paul drama came to a whimpering close (not even a return of the great Cody Kasch) and so does Lynette and Tom’s marriage. The divorce plot seems tired but I don’t see it as especially terrible because that entire relationship has become awfully annoying to watch. The Gaby drama is vaguely random but not overly so and the rotating dinner is a nice touch. The latter episode is superior, but something still feels off although I do give props to Vanessa Williams for being the episode’s MVP working hard with the silly storylines she’s given. I keep praying that this show can rein itself in and find some structure. I don’t know, though...

[C/C+]

[B-]

United States of Tara: “Chicken ‘n’ Corn”

Well, things are definitely reaching to a head and it sure is turning into something chilling. Tara’s new alter is distressing, but it was the early scene with Chicken which was more upsetting. It was an episode of things being troubled, though, like the usually calm Max being derailed by that plain right or Kate being similarly ill at ease with Evan’s demon-son or Marshall feeling badly because of Max’s ostensible lack of support. Marshall’s really annoying me this season, go figure. Even Charmain’s attempts at a day out were capsized first by her worrying about Wheels and then her returning home to Hatteras in her house and a palpably upset Tara there.

[B+]

            

Nurse Jackie: “The Astonishing”

This episode was filled with some great small bits featuring things that you wouldn’t likely see. O’Hara looking at her bruised chest in the bathroom was deep and then there was that awkward lunch with her, Jackie and Zoey and then a somewhat random but surprisingly effective moment with his toys. Jackie was running on a single pill today and that’s probably why her mood was so sour. I feel badly for Gracie, but she’s such an annoying character that I wasn’t that invested in her saintly plight. Gloria and Thor bonding was a genius move as was the conversation between Kelly and Zoey which led to the latter reminiscing on her days of being jailbait. Wever is such a trooper.

[B+]

Glee: “Funeral”

I’ve stopped reading reviews of Glee because I end up almost always liking the hated episodes or hating the liked episodes and what not. “Funeral” was a lot more placid than you’d expect, and maybe it’s because I’ve been feeling a bit downer for the entire week (what with the rapture, and what not) but with its attention to the softer side of the show it ended up being less cloying to me and surprisingly moving. The arc of Sue’s sister dying on its own doesn’t move me as much but Lynch turns in a fine performance, and I did love the season’s opener when she and Will were “friends” so I’d love to see that return and it ties in nicely with Terri’s exit which saddens me. I’m a fan of Jessalyn, she’s had sinfully little do this season but she’s Morrison’s best acting partner and I will miss her when (if?) she leaves. The smaller relationship drama was a bit eclipsed, but Jonathan Groff brings the funny (without singing) and as harsh as his comments were every single one of them made sense if you put serious thought into it. Don’t care for the Finn/Quinn drama, I keep hoping Rachel and Finn don’t hook up and destroy the show – but it seems inevitable (them hooking up, not the show’s destruction. Ha.)

[B+/A-]

       

The Good Wife: “Closing Arguments”

I've come to love The Good Wife, I think my general antipathy towards Julianna Margulies (don't ask) made it difficult for me to initially love the show in its premiere season. Still, I've grown to love it and I was highly anxious to see the season's closer. The set-up is excellent. Fresh of their "break-up" Alicia and Kalinda must work together on judge murder which their client is charged for. Just as closing arguments for the case are given new evidence (in the form of a bloodied glove) ends up on Alicia's desk leading the team into a fresh new investigation. It sounds good, but the episode is something of a let-down, a fine episode - certainly, but it sort of fizzles in contrast to last week's episode. For me, The Good Wife is always at its best when it touches on the concepts of friendship - Kalinda/Alicia, Diane/Will, Eli/Peter or general politics and as a viewer the Will/Alicia dynamic is decidedly secondary for me. So, even though we get some suggestions of brilliance like Cary and Diane's cutesy banter or Eli and Alicia's pseudo face-off or Cary noticing Kalinda's coldness the fact that the end-all of all that could be is a lip-lock between Will and Alicia

[B/B+]

Modern Family: “See You Next Fall”

It’s a solidly fair episode and it’s great when the entire comes together – this time for Alex’s graduation. Hyland was great this episode helping Alex to see how terrible her original graduation speech would have been. The Claire/Phil arc wasn’t as precise as I’d hope but Bowen and Burrell (the MVPs on the show, for me right now) really can make anything work. Jay’s Botox seems a bit out of left-field but I love Mitchell’s reaction. The Cam/Mitchell arc was a bit silly, but Ferguson is hilarious when he comes as vaguely insensitive and the best part of the episode was him trying to convince everyone how Cam’s fall could have been funny.

[B/B+]

Cougar Town: Free Fallin'

This was an episode of classic greatness and even the potentially freaky arc of Grayson, Ellie, Tom and the chalk children didn’t end up hindering. On one hand Jules and Travis have concurrent bonding and sparring when he decides to drop out of college. This leads to a hilarious gag where Grayson pretends to be Travis and he and Jules end up making up. It is as weird as it sounds, even Ellie agrees. Then, Penny Can went national as Lou Diamond Philips became the face of the new and improved Penny Can and though in theory it’s Bobby’s arc it leads to a string of hilarious Laurie moments. It will be interesting see Bobby in an apartment now, and Travis on the boat.

[A-]

The Office: “Search Committee”

Krasinski, I always maintain, is a brilliant actor because he knows how to react to the madness around him and having him on the search committee responding to a host of madness and giving the camera his wan expressions was just great. This one hour didn’t top the Christmas episode – nothing this season did. But, in its placidity it was a fine close to the season. One of the surprising arcs which hit home was the potential for Phyllis and Erin to be mother and daughter. I’ve never been a fan of Phyllis but the arc ends up being funny and moving. Little things were excellently done, like Pam having to be the one to save the office from Creed or every bit character have their moment from Kelly and Ryan (I will always love those two) to Oscar and Darryl. It was perfectly orchestrated which serves as fine proof that as brilliant an addition Michael was the office is filled with a host of brilliant members. They can handle another season...but who will lead them? I hope it’s James Spader. He was brilliant!

[B+/A-]

Parks & Recreation: “The Bubble”

Parks and Recreation: “’Lil Sebastian”

A double episode closing for the greatest comedy on television at the moment seems about right. Ben meeting Leslie’s mother was all sorts of great. Scott is doing such great work on the show, I keep praying at least one cast members get Emmy love but damn they’re all worthy. That’s why the concept of them working like crazy on the funeral of ‘Lil Sebastian is both silly and fantastic. The cliff-hangers are striking but not exasperating because they’re so realistic. Leslie running for office is an excellent idea, which could be a problem with the Ben liaison. Tom leaving the office is logical, although I wonder how successful he would be. And then we get added pieces of greatness like Ron’s moustache burning off along with the return of Megan Mullally and Tammy I (whoever that is) and Chris mourning the loss of his youth which is too funny. Here’s an even better season four, but before that here’s praying for some Emmy love. Fingers crossed.

[A/A-]

[A-]

Grey’s Anatomy: “Unaccompanied Minor”

I swear I’ve been crazy emotional this week, it’s like all my aloofness has worn off over time and it’s all gone and that scene with the room waiting for that solitary minor made me really, really, really sad. It’s been a while since a one hour season finale and this one seemed especially un-seismic but still excellently solid. It’s a sensitive closing to a season that’s seen the show trying to find its way and by ending on softer note it works excellently. I’m worried about Alex, and I wish he and Meredith could have had it out. Hopefully next season doesn’t see him get crazy because I’d hate it if April got chief resident over me. But there’s bigger fish to fry, like Meredith’s suspension, Derek’s leaving and the baby’s arrival. All things handled sensitively and with great skill. But this week it’s Sandra Oh who delivers home. Her conflict makes sense to me, but I can see Owen’s point and it’s just all complicated for her – just as Meredith keeps stressing about her issues. It’s not black-and-white, it’s a murky deluge and I can’t wait to see what they do with the next season. I feel as if, finally, they’re back on track.

[A-]

Private Practice: “To Change the Things I Can”

Naomi’s departure wasn’t as big a thing as I’d hoped; I suppose having Audra leave quietly is the best thing for the show and Addison already has her issues of semi-depression. The practice’s move to a change is interesting, although I wonder if that’s going to be as big a change as they’re making it out to be. It’s weird, I don’t have much to say about the episode but it’s a good one. Violet and Pete’s drama is an interesting problem and Charlotte and Coop’s troubles at works makes for an interesting arc. The thing about this show, though, is that it’s so dedicated to being calm that sometimes it can come off seemed anaesthetised. This episode avoids that, hopefully season 5 continues on that.

[B+/A-]

             

Outstanding Writing

Grey’s Anatomy: A/A-

Parks & Recreation: A/A- (“The Bubble)

Cougar Town: B+/A-

Glee: B+/A-

The Office: B+/A-

            

Outstanding Performances

Amy Poehler in Parks & Recreation B+/A-

Sandra Oh in Grey’s Anatomy B+

Adam Scott in Parks & Recreation B+

Eve Best in Nurse Jackie B+ 

Jane Lynch in Glee B+

John Krasinski in The Office B+

John Corbett in United States of Tara B+

Nick Offerman in Parks & Recreation B+

Ty Burrell in Modern Family B+

                

Kate Walsh in Private Practice B+

Courtney Cox in Cougar Town B+

Toni Collette in United States of Tara B+

Busy Philipps in Cougar Town B+

Vanessa Williams in Desperate Housewives B+

Dan Byrd in Cougar Town B+

Christa Miller in Cougar Town B+

Rosemarie DeWitt in United States of Tara B+

         

What did you think of all these finales? Any stood out?

Encore’s Birthday Marathon: Day Three

This is part of the 20 day series of commentary commemorating random cinematic moments leading up to my birthday. It’s hardly an auspicious moment, but it’s as a good a reason as any for an arbitrary blogging event.
         

One of my sisters has this strange fixation with the number. Her birthday happens to be a 3rd of the year, so it’s probably not that weird. It’s interesting, though, because I’m part of a three sibling family and three always seems like the go-to number for cinematic families. Maybe I overstress, it’s probably not an overwhelming majority but I’m almost certain that it is the majority. The thing about siblings, on the big or small screen, though is that oftentimes the honesty of any filial bond is difficult to establish. Think of the trio of sisters in Gosford Park. I adore the film, but there’s little ostensible cinematic rapport to be found between Kristin Scott Thomas, Natasha Wightman and Geraldine Sommerville. It doesn’t destroy the film (it’s still excellent), but it’s notable.

I’ve found that the small screen is a more accurate purveyor of believable sibling relationships. There’s little about David Schwimmer and Courtney Cox in the Friends pilot that makes their relation to each other striking, but just like meeting actual siblings overtime the bond is revealed to be a strong one. Peter Krause and Michael C. Hall seem to hit it off immediately in Six Feet Under but it’s some time before Claire seems like a real part of their relationship (Krause’s current drama, Parenthood. is still trying to address chemistry issues.)

For the cinema, when I think of sibling rapport I immediately turn to Howards End – not only because of my affinity for Helena Bonham Carter and Emma Thompson but because I vicariously enjoy it as a paradigm for my own sibling situation (two older sisters). Tibby is sort of incidental to the drama in the film, which isn’t exactly regrettable (the film functions finely without him) but I love those little moments when all three are together like that first meeting with Leonard where Tibby is exasperating stolid or the first meeting with Mrs. Leonard Bast where he’s more voluble.

And if Howards End represents my sibling relationship in the Edwardian period, then It’s Complicated would be it in contemporary times. Not that I’m grossly invested in the film (and I do have a loathing for Zoe Kazan who plays the middle daughter) but the fact that the trio not only has strong chemistry but their relationship actually seems unforced despite the more obtrusive “cutesy” bits is impressive. (I always do think there’s a better movie trying to fight its way out of It’s Complicated). I couldn't only imagine the therapy my siblings would need if my parents decided to remarry - or have an affair. Yikes.
         

Any cinematic siblings remind you of yours?

Links Fell Down

Yeah, I had a link post recently but more is always more and there are some more posts that have been quite interesting. This review of Ric's for example of The Social Network is quite perceptive.
    
 The Mad Hatter has a question for you. Which DVD’s do you own that you never watch? I actually have a number of extraneous DVDs, I should probably get rid of them, but I’m a hoarder.

Remember Being Julia? I’m a big fan of it, it has its issues but it’s much wittier than you’d anticipate and Bening is just phenomenal in it. It’s a short review, but Yojimbo points out some astute points of it.

I linked to CS’ last smackdown between Scarlett and Natalie but I find this one even more interesting (even if it’s easier to judge). He asks us to choose between Spielberg and Scorsese. You know who’s camp I’m in, but I sure would like to know what you think.

I love this post from Tom on Next to Normal. No, I haven’t been lucky enough to see it, but I do love the cast recording – the music is PHENOMENAL!!!!

and to close, Peter Bogandovich (yes, THE Peter Bogandovich) offers up an excellent look at one of the issues with The Philadelphia Story. Now, you know how much I love the Hepburn/Grant/Stewart flick but I will admit that the points are excellent.