As I’ve said before, Andrew’s 90’s Showdown was a baby that was meticulously conceived and prepared by its multiple fathers. We sent a list – I tried rigging the polls by sending in as many obscure performances as possible, as any douche-y movie lover should. But alas, that didn’t work.
Then we compared each other’s lists from where we had to rank names. I was tired when I got to the actors so I ranked them – they were easier enough. The women, whom I dived into first, were a more daunting task for me so I wrote down if I liked or disliked their performances. I have no idea if this is a scientific method or not – maybe I get juiced up or tired by the time I got to certain parts of the list. The exercise helped me judge as soberly as possible, hoping Andrew despite some of my choices not making it. But instead of letting those words rot in a word file somewhere only to be deleted, I’m posting what I wrote and polished it as much as I can.
But before we get to that here’s Andreas’ own list. His is better, but I’ll still post mine even though I’ve made lists like this before. This will be in series form because I don’t want to tl;dr you, as much as I resent the latter concept. And I can give you three days worth of material for a day’s ‘work.’ Starting from the performances I can only write now but in short form. Sadface.
Nicole Kidman in Practical Magic (1997): She can emit sexuality from behind Sandra Bullock’s puffy wholesomeness. She could do it. Are you going to be worried about The Paperboy now?
Meryl Streep in Music of the Heart (1999): A performance list without Meryl? A list with Meryl but with this instead of Madison? Affirmative action? Her performance here proves that she can step on kittens and get away with it.
Mina Mohammad Khani in Ayneh (1997): Iran needs a star system. We can start with the cast of A Separation then any actress Jafar Panahi has worked with.
Claire Danes in Romeo + Juliet (1996): Probably the weakest of the cast, yelling just as much as DiCaprio, but she brings Angela Chase’s self-awareness here. She’s also given us the greatest rendition of the ‘What’s in a name’ soliloquy. Besides, she’s better than Norma Shearer – Disclaimer: I like Shearer but not as a Juliet.
Kate Winslet in Heavenly Creatures (1994): She has one of the best cries in Hollywood but if this performance was included the bracket would have had too much of her.
Linda Hamilton in Terminator 2 (1991): Really? No one backed me up on this? Is this world coming to an end?
Sarah Michelle Gellar in Cruel Intentions (1999): As devilish as she can be. More effective than Glenn Close if I dare say again.
And here are performances that I got to talk more lengthily about.
Natalie Portman in Leon and Beautiful Girls (1994 and 1996): I’m no going to pretend that I’m her biggest fan now. She got away with stuff that Chloe Moretz is being punished for. But still, her early performances showed potential. As Mathilda she tells a hotel receptionist that she’s Leon’s (Jean Reno) lover. As Marty she makes a deal with an older neighbour without making herself look too seductive. That control of showing maturity at such a young age is always surprising.
Susan Sarandon in Dead Man Walking (1995): Sarandon’s Sister Helen Prejean is an altruistically calming influence to a film dominated by Sean Penn’s energy. She absorbs information about Matthew Poncelet (Penn), her rebuttals acknowledging his prejudices as alien concepts without condemning him. She’s therefore the audience stand in, not judging Matthew even though we could be. She figured in a low place in my earlier lists, having not seen this movie since high school but expressing so much in one line brought her higher.
Catherine Keener in Living in Oblivion (1995): Her character, Nicole embodies of different ways to deal with sadness and wrathful misandry, whether she tolerates Chad Palomino (James LeGros) or joyfully eviscerates him. On the opposite side of that spectrum is Keener dressed as a bride, a metaphor fitting for indie perfection, an appointment that does seem unusual yet fully convincing if you think about it.
More tomorrow, starting with someone who undoes a cover-up.
I would like to begin this post by saying that today is my birthday! And thanks to Dan Stephens, not only do I get one wish but ten, being a part of this blogathon that asks its…members?… about the fictional movie worlds I would like to enter for specific reasons. This blogathon is inspired by his post on The Last Action Hero. I’ve only seen the trailer for this movie, even if there’s a local cinema that plays this move once in a while. Anyway, let’s begin!
What character would you most like to be sat next to on a plane?
That woman who is one of James Cole’s (Bruce Willis) boss from Twelve Monkeys. Or better yet, any character from Twelve Monkeys.
What character would you most want to enjoy a passionate romance with?
Dotorre Clerici (Jean-Louis Trintingnant) from The Conformist, although it wouldn’t end well.
If you were a cop who would you want as your partner?
In who could also be my answer for the passionate romance question, Billy Costigan (Leonardo di Caprio) from The Departed. Digression, but Leo should have been nominated for here Oscar here instead of Blood Diamond.
What animated feature would you love to walk around in?
Fantasia, like are you kidding me? The first sequence is Abstract Expressionism avant la lettre! I’ve also drunkenly danced to the ballet dancing hippos, so I guess I have used my ticket for this already.
What adventure based on earth would you most like to go on / OR / What adventure based in an otherworldly, fantasy-based location would you most like to go on? I.e. Would you like to join the Goonies on their treasure-finding mission, or Luke Skywalker in his search for his family’s murderer?
For the earthly one, I’d choose whatever happens in Ang Lee’s Crouching Tiger, Hidden Dragon. I know that I probably won’t survive but swordplay is an adventure.
When it comes to the fantasy-based place, I’d pick Joel Barrish (Jim Carrey) trying not to erase Clementine Kruczynski (Kate Winslet) froom his memory in Michel Gondry’s Eternal Sunshine of the Spotless Mind. Because what could be more otherworldly than someone else’s changing brain?
What movie gadget would you love to try out (or steal)?
The Delorean in the Back to the Future films. Are we even allowed to talk about this magic transportation movie in a post about another magical way of transportation? Or can we talk about the art house version of those gadgets, specifically the movie screen in The Purple Rose of Cairo?
What film’s plot would you alter and how would you do it?
Atom Egoyan’s Chloë. I don’t know how and I don’t know if my presence and power would cure the plot from being ridiculous.
What one film would you most want to be transported into, simply to be a part of that world?
The 1860’s in The Leopard. I know it’s unsanitary and heteronormative and that period has religious hypocrisy, but it’s also like Gone with the Wind but in Italian. And the balls and the chance to dance with either Principe Felipe de Salina (Burt Lancaster) or his son’s fiancée (Claudia Cardinale)? Get me my Magic Houdini ticket now.
Every blogger, website and their grandmothers have already written about the trailer for Roman Polanski’s Carnage. Twitch has uploaded it on Vimeo but the few YouTube versions of it only have less than 2000 hits combined, which needs to be corrected. I like the art direction, blocking and of course, the cast. Christoph Waltz’ sincerity while telling Jodie Foster that his character Alan’s son didn’t disfigure the latter’s, or Foster making us laugh with just one line. As a fan of Kate Winslet, I’m a tad worried about her hamming it up although she gets most of the headlines written about the trailer so far. I’m also glad that Yasmin Reza, who wrote the original play in French, adapted the material herself, making it more vernacular. Which means that English interpreter Christopher Hampton has no hand in this at all. Enjoy!
Well the links lead from me to me. Let me begin with the new character posters for Steven Soderbergh‘s Contagion, which I talked about for Nathaniel R’s The Film Experience. Blythe Danner has seen her daughter’s poster, apparently. The comments went beautifully, as people remembered the Gwyneth and Winona frenemy situation and surprisingly, Matt Damon‘s poster is competing to be the second favourite along with Laurence Fishburne‘s.
Speaking of Kate Winslet movies, she’s playing the role of She-Hulk in Roman Polanski‘s new film Carnage, a movie I won’t shut up about until its release. I didn’t like the poster, but it’s a surprise hit for the commenters at Anomalous Material, where I’ve also been busy writing news and reviews. I think that John C. Reilly has the best colouring here, while I’m not into Jodie Foster and Christoph Waltz‘ orange so much although yes, there are loathsome orange people out there.
I also reviewed Crazy, Stupid Love at YourKloset, a website that I write for when movies and fashion collide, which thankfully happens often enough for me.
Minutes before watching Crazy, Stupid, Love, I saw the trailer for Contagion, a trailer that, at first viewing, was for your typical Oscar season blockbuster. But I guess seeing it on the big screen made me see stuff more like oh hai, Bryan Cranston, playing Haggerty, a suave man in uniform again beside Dr. Cheever (Laurence Fishburne). Other actors appearing in this film are John Hawkes and Enrico Colantoni, an uncredited Soderbergh alum who’s known here in Canada for being the lead in the cop show “Flashpoint.”
I also really like this shot well, because of the flowers. Seeing the daisies I assumed that it was a child bringing it to someone’s grave, but then it’s obviously someone working on the mass burial grounds. It’s a mix of the personal and professional an adult, possibly jaded because of the recent events, trying to bring an innocent time back. Over-read!
Now, the stars! It sounds sadistic but I’m relieved Beth Emhoff (Gwyneth Paltrow) dies early instead of the disease being the wedge between her and her healthy husband Thomas’ (Matt Damon) marriage. But Dr. Leonora Orantes (Marion Cotillard) will analyze Beth throughout the movie, being the first to fall to the disease. How is there even an HD camera surveying her before her death, anyway? Here’s Jude Law, meh. There’s also Dr. Erin Mears’ (Kate Winslet) voice dominating the trailer, but why is her nose red? NOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!!!!!!!!!!!!!!!!!!!!
This post is for Nathaniel Rogers’ “Hit Me With Your Best Shot” series.
The second time I saw Peter Jackson’s Heavenly Creatures was on the big screen, brought by CINSSU in the winter of 2008. Peter Kuplowsky introduced it, saying that this movie never gets shown in its proper format and getting it on 35 and screening it will do the film justice. Which makes my best shot above gloriously majestic. Peter Jackson doesn’t need to go the extra mile to show the girls’ fantasy world. This shot, instead, is all about inclusion, Jackson including Juliet (Kate Winslet) and Pauline Yvonne (Melanie Lynskey), making them as small as the unicorns on the right hand side. They’re immersed into the fantasy instead of being its voyeur, legitimizing the [ETA] Fourth World’s tangibility.
It’s a self-imposed challenge that if I haven’t written about the movie on my blog, I have to rewatch it. By 7:06 PM of the anniversary of Kurt Cobain’s death, I would have seen this movie a whopping four times. On Facebook, Chris D. Mischs called it an ‘ugly’ movie. This is the first time I have heard the movie being called that, and it let me cloud my mind. But I guess it’s a marvel that it took that fourth time for me to see its flaws, like the pans or zooms ending with either Juliet or Paul of them turning around to face the camera that makes the film less naturalistic. Or when Juliet exclaims ‘That’s great!’ while finding out that Pauline can break into the latter’s dad’s safe for their fare money. Which leads us to how this movie is about two hormonal teenagers who act without hesitation, and the queer politics involving them and their crime.
I did see positive aspects of the film. Its cinematic references, despite the obvious one from The Third Man to the subtle homages to Throne of Blood and the Sound of Music. How Winslet, although imperfect in this film, can seamlessly switch from one emotion to another. Or that yes, Lynskey and Sarah Peirse look the same but I never realized how much the actress who plays Juliet’s mom looks much like Winslet herself.
My second and third viewings made me assume that Juliet is the dominant person in the relationship, the one with the nice big mansion. Paul hangs on to her every word, subscribing to Juliet’s fantasies and crushes, but she does get to hold the reins too, like when she tells Juliet that her breath smells like onions. Juliet couldn’t have suggested to kill Paul’s mom (Peirse), Paul did. There’s even the moment when Juliet hesitates in the act but Paul looks at her as if to do her part. It’s the same ambivalence when I watched it those second and third times. My focus then was on Paul’s relationship with her mom. The second time, I sided with Mom, the third with Paul.
I first saw this film when I was ten or eleven, airing on a local channel. Winslet became more recognizable worldwide because of Titanic, and for some reason I remember her movies being played a lot back in the Philippines. The opening scene just shocked me. Kate wasn’t just the girl in Titanic, she was an actress.
I can’t remember any other time I’ve felt that in between then and now. I guess that means I’m easy to impress, put a little blood and screaming and I’m captivated. I’ve noticed that except for two movies, she’s always made great entrances. Whether she adds scenes that top the first one or not, I’d still remember how her character is introduced and rely on either the pathos or enthusiasm there. And good God can the girl cry.
How did this movie slip through the cracks of the Philippine censorship board? Back then I thought that everything in Hollywood spoon-fed me was great, but movies like this gave me a new criterion for what makes a great film, a criterion that I stood by until my second year in University – the more fucked up a movie is, the better. Which is obviously reductive, since I needed the few more viewing to appreciate its cinematography, pacing, acting and all of that.
It also felt rebellious as a boy who has yet to discover his sexuality to have seen two characters who cross the line without blatantly calling themselves that. I distinctly implanted the close-up of the psychiatrist’s teeth as he diagnoses Juliet and Paul with the condemning word ‘homosexuality,’ and back then I defended them as not homosexuals because I thought their intense and pure friendship shouldn’t bear that denigrating title, which reflects my innocence or ignorance on the subject itself and that they weren’t homosexuals because they didn’t look the part.
On Ingrid Randoja’s seminar last year
because I’m so cool, she noted this as one of canonical lesbian films in the gay 90’s. This and the one with Jennifer Tilly where she and her girlfriend kills someone too. Which again subverts my recent reading that it’s one of those ‘gays who KILL’ movies. I still don’t know how to feel about a movie that packages a stereotype differently. Despite the little flaws that I see now, watching this film is like the girls seeing the Fourth World. It’s something radical and I hope it’s not too much to thank Jackson and the actors for making a movie that shook my world.
I finished this book on February 15th for a Jane Austen Book Club. We’re never going to have our first meeting. Sad. The first thing that comes to mind is the dialogue, impressionistic between the Dashwoods, focusing instead on portraying a pastoral tone through narrative. The novel seems more dialogue-centred during chapters when Elinor and Marianne encounter male characters. Some conversations are either omitted, or through hearsay, obscured so that even the Dashwoods don’t know their endings. dialogue is important both in form and content in this book because it cements or disintegrates the female characters’ engagements with their suitors.
Had Austen been born in this era, Elinor would have rolled her eyes at people, especially when it comes to the alleged relationship between her and one of Marianne’s suitors, Colonel Brandon. This platonic relationship is probably Elinor returning the favour to Marianne with the latter’s few conversations with the former’s suitor Edward Ferrars. Marianne and Edward both hate jargon, the former’s poetic personality refreshed by Edward’s simplicity.
The book also perfectly encapsulates female heartbreak. I’ve seen it personally and it’s nasty and can almost suck the soul out of someone. Yes, and even if the book is mostly from Elinor’s perspective, Marianne’s heartbreak is more tragic. Speaking of conversations, Elinor has a last conversation with Willoughby that doesn’t really make him sympathetic, no matter how hard Austen tries to sway us.
The only adaptation of the book that I’ve seen is from Emma Thompson’s screenplay. Willoughby’s introduction scene still makes me giddy, even if I know how he really is. Eventually having to cast herself as Elinor, Thompson is the wrong age for the part. But I can’t help but hear her voice when I’m reading Elinor’s dialogue. Pardon the limp wordplay, but Thompson’s adds sensibility and soul to make Elinor and Austen proud. Also, House is in this movie.