Wednesday, July 27, 2016 at 11:45AM Meryl Streep for President in 2024! We're with her.
In case you missed Meryl Streep's "Grit & Grace" speech at the DNC last night, please enjoy the reappearance of her tacky but adorable American Flag dress and catch up. I thought I'd share it with a little movie angle since it's all about Trailblazing Women...
Wednesday, July 27, 2016 at 10:17AM 
When Judy Garland and George Cukor made A Star Is Born for Warner Bros, both Judy and the industry were changing. The Paramount Case and The De Havilland ruling had weakened the paternalistic power of the studio system by forcing studios to sell their theaters and release their stars, while widescreen technology changed the shape of the movies. Similarly, Judy's previously squeaky-clean MGM image had transformed. In the early 1950s, she divorced Vincente Minnelli, married Sidney Luft, survived a suicide attempt and rehab and launched a successful concert series and an even more successful concert album. It was no coincidence that in the middle of this maelstrom Judy Garland's comeback vehicle was a remake of a 1937 Technicolor classic.
The Movie: A Star is Born (Warner Bros 1954)
The Songwriter: Harold Arlen (music), Ira Gershwin (lyrics)
The Players: Judy Garland, James Mason, Jack Carson, Charles Bickford, directed by George Cukor
I'm breaking with tradition slightly, but today I want to show you three versions of Judy's famous version of "The Man That Got Away."
In the first, the restaurant is too brightly lit with too many patrons, though the number more closely resembles the MGM Judy Garland numbers that inspired it.
In the second clip, colors and lighting are more muted, but Judy blends in to the background and the band in her brown dress.
The final version is the one used in the film - Judy stands almost alone in the spotlight, belting a mournful song and somehow rejoicing in it.
It's easy to read into the success of A Star Is Born in tapping into Judy Garland's star persona. With her private life so publically on display, the story of Judy Garland lays neatly on top of the story of Vicky Lester as a meta text: when Vicky battles Norman's alcoholism, Judy could be fighting her own demons externalized. However, these three alternate takes show how carefully this image is constructed from well-placed lights, new staging, and one incredible performance.
No matter how iconic the scene was, as a movie A Star is Born was not the comeback vehicle Judy had hoped. Warner Bros heavily edited the film for runtime, and ultimately the movie didn't make much of a profit. At the 1955 Academy Awards, Judy Garland lost the Oscar to Grace Kelly. Judy would stay away from movies for another 5 years after that, but her career was about to get much more interesting.
Tuesday, July 26, 2016 at 9:45PM Editors Note: Nathaniel is running behind on the Cinematography Special - but don't miss yesterday's installment or Tim's huge ongoing post at Antagony & Ecstasy so we'll resume tomorrow night. In the meantime enjoy Eric's look back at the Globes in '77, since its our Year of the Month.
Peter O'Toole with Globe winners Jane Fonda (Julia), Richard Burton (Equus), and Marsha Mason (The Goodbye Girl)
Globe/Oscar comparisons are always fun to see because though the groups have different sensibilities, inevitable industry hype influences both. Yet the Globes are rarely revisited outside of their years since Oscar is the one people obsess on when they look back, "the one that matters" as it were. Let's correct that as we gaze at 1977...
Tuesday, July 26, 2016 at 6:30PM Dancin' Dan here taking over for Nathaniel a bit on the Crazy Ex-Girlfriend beat. This time out: crazy guest stars, crazy accents, and crazy mothers!
S1:E7 "I'm So Happy That Josh Is So Happy!"
Feeling depressed about Josh moving in with Valencia, Rebecca screws up a pitch to win the firm a new client. But that new client only has eyes for Paula. Meanwhile, Josh gathers his bros to try to do something nice for Valencia while moving in to their new place. Let's rank the crazy after the jump!
Crazy Ex Girlfriend, Rachel Bloom, TV, musicals Tuesday, July 26, 2016 at 4:00PM 
THE SUPPORTING ACTRESS SMACKDOWN OF 1977 is coming. You already met two of our panelists. And here are the other three (including me).
MEET THE PANELISTS
Panelist: Sara Black McCulloch
Bio: Sara Black McCulloch is a Toronto-based researcher, translator and writer. She has written for i-D, cleo Journal, Adult, The Hairpin, Gawker, Bitch Magazine and The National Post. You can read more of her work here.
Question: What does 1977 mean to you?
1977 seemed to be steeped in so much disillusionment. I think that, like the years that signal the end of a decade but don't quite bookend it, it was...fraught. The year was packed with events that pointed to change and fueled uncertainty. It was the year the U.S. signed the nuclear-proliferation pact and the same year that the U.S. government voted against covering elective abortions through Medicaid. The Apple II computer hit the market and Jimmy Carter warned Americans about their oil consumption. New York City had a blackout. Culturally, things were brewing, or at least clashing with traditions: The Sex Pistols crashed the Silver Jubilee; Saturday Night Fever and a Star Wars sequel were released; hip-hop was just getting started and Roots was sweeping tv ratings.
So much of the art produced and general sentiment of the U.S. pointed to different internal and external conflicts -- pushing boundaries, but setting up borders; artists, citizens and politicians all wanted to turn a new leaf but they were still anchored to their past. The best way I can summarize 1977: it's like the last 10 seconds of New Year's Eve, but the clock freezes.
Panelist: Mark Harris
Bio: Mark Harris is an editor-at-large at Entertainment Weekly, and a contributor to New York magazine. He is the author of Pictures at a Revolution (2008) and Five Came Back (2014). He lives in New York City.
[Follow him on Twitter]
Question: What does 1977 mean to you?
I was in eighth grade and living pretty deeply in the world of television--Happy Days, Good Times, All in the Family, Charlie's Angels, Saturday Night Live. But I do have some movie memories from that year: Seeing Network just before the Oscars and thinking it was one of the greatest movies ever. Seeing Annie Hall and not getting all the jokes but recognizing parts of my New York neighborhood. Seeing ads for Star Wars and thinking, "Ehhh, not really for me." Seeing ads for Saturday Night Fever and thinking, "100% for me." I now get all the jokes in Annie Hall. Everything else still stands.
Panelist & Host: Nathaniel R
Bio: You can read more about me here, but you already know me!
[Follow Nathaniel R on Twitter]
Question: What does 1977 mean to you?
I don't remember much. The only movie I physically remember sitting in the theater for was The Rescuers -- I was really into Evinrude the dragonfly and Medusa's pet alligators. My most vivid showbiz memories of 1977 are two: making Bionic Woman noises while jumping around the backyard with my best friend and hearing my big sister playing Streisand's "Evergreen (The Theme From A Star is Born)" on the piano a lot.
ARE YOU VOTING ON THE SMACKDOWN, DEAR READER? Get your votes in by Friday early evening.
The Nominees were...
Leslie Browne, The Turning Point
Quinn Cummings, The Goodbye Girl
Melinda Dillon, Close Encounters
Vanessa Redgrave, Julia
Tuesday Weld, Looking for Mr Goodbar
Readers are our final panelist for the Smackdown so if you'd like to vote send Nathaniel an email with 1977 in the header line by Friday with your votes. Each performance you've seen should be rated on a scale of 1 to 5 hearts (1 being terrible 5 being stupendous) -- Remember to only vote for performances that you've seen; the votes are weighted to reflect numbers of voters per movies so no actress has an unfair advantage because her movie is popular.
