Judy by the Numbers: "A Great Lady Has An Interview"

Anne Marie is tracking Judy Garland's career through musical numbers...

Our time travelling comes to an end this week with a movie that was filmed before The Harvey Girls but, due to expensive reshoots, wasn't released until months later. Ziegfeld Follies (not to be confused with Ziegfeld Girl) is a plotless series of excuses for MGM to throw its considerable stable of talent into a series of comic and musical sketches tailor made to show off the stars - and the studio - at their finest.
 
The Movie: Ziegfeld Follies (1946)
The Songwriters: Kay Thompson (lyrics), Roger Edens (music)
The Players: Judy Garland, Gene Kelly, Fred Astaire, William Powell, Esther Williams, directed by Vincente Minnelli 

The Story: According to rumor, originally this enjoyable little slip of a number was designed for Greer Garson. However, when Garson backed out, it became a number about Garson, lampooning her accent, image, and Oscar-bait dramatic roles. However, the satire was all in good fun, in large part due to the lyrics by Kay Thompson.

Though this was Thompson's first credit on a Judy Garland performance, she had been working with Garland since befriending the young starlet on a radio show in 1939. On top of a successful nightclub career, Thompson would become MGM's top vocal arranger and vocal coach, working with Judy Garland, Fred Astaire, June Allyson, and more. But more than Thompson's vocal control rubbed off on Judy. Watch this clip with Audrey Hepburn, and compare the physicality - from poses to gestures, between Kay and Judy.

While Kay Thompson would remain close friends with Judy Garland, eventually even lending Liza a hand, her own movie career never took off. Instead, Thompson would become world famous for another career: as the creator and writer of the children's series Eloise.

Best Shot: Trevor (1994)

For Pride Month... A great moment in Oscar gayness

This week's Best Shot spotlight shines on an adorable miniature. Since June is Pride Month we're looking at Great Moments in Cinematic Gayness throughout the month. Great Moments in Oscar Gayness are rarer things and usually come with significant caveats. When they award actors for playing LGBT characters it's literally only when they are straight and labelled "brave" for playing the character and the character is either dying or victimized in some way. Their ultimate Best Picture rejection of a universally acclaimed frontrunner in Brokeback Mountain (2005) left another stain on the Academy's rainbow colors.

But in Oscar's gay history, there is a beautiful moment that comes without so many uncomfortable footnotes.

Trevor, a sweet funny short about a boy who realizes his schoolmates have figured out his gayness took home an Oscar in a surprise tie, one of only six in their history, at the 67th ceremony. To make the moment even gayer in retrospect, the late producer and casting director Randy Stone thanked Jodie Foster ("Jodie, I love you") from the stage. (Stone and Foster were frequently each other's dates at film events in the 1990s and he was even rumored to be the biological father of her sons.)

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Pop Star: Never Stop Never Stopping

Eric here, with a quick review of the new movie from The Lonely Island comedy trio of Andy Samberg, Akiva Schaffer, and Jorma Taccone, Pop Star: Never Stop Never Stopping.  

Pop Star is one of those films, like Anchorman or Zoolander, that gives you two choices:  surrender or resist.  You can either dive headfirst into this mockumentary of pop music sensation Conner4Real, and enjoy a hodgepodge of hit-or-miss jokes…or you can yawn at the filmmakers calling in a favor to every famous person they know (Carrie Underwood, Adam Levine, Usher, etc.) to lend some authenticity to the piece. 

If you resist, Pop Star is probably a pretty unbearable sit, because it’s another movie from producer Judd Apatow that features a bunch of male comedy guys conning a studio out of about $30 million just so they can show the world (and themselves) how adorably imbecilic but ultimately likable they are.  While the film itself is about an egomaniac, there’s a lingering ickiness about the ego behind and in front of the camera too.  The film purports to skewer rap star narcissism, but the behavior is celebrated as often as it’s parodied. 

But if you surrender, the laughs deliver...

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Halt & Blade Runner

Jason from MNPP here with a quite happy bit of new news - we've been a little on the wary side of the Blade Runner sequel. Even as excellent stuff was announced - Harrison Ford returning is excellent stuff! And we're probably bigger fans of director Denis Villeneuve as of this moment in time than we are of Ridley Scott as of this moment in time (that's our way of saying if we were talking about "Ridley Scott as of the 1980s" it would be a different story). These are all net positives! 

And yet we're wary. We're talking about Blade Runner here! The film that basically built the entire aesthetic of cinematic dystopia on its slick neon-in-the-rain shoulders. You kind of can't look at any movie set in the future that was made in the past 34 years and not see its influence.

Well today we're a smidge less wary, and we might actually be on our way to excited, because the film's just cast one of our very favorite actresses - Mackenzie Davis from Halt and Catch Fire (which is so underrated it pains my insides) as well as the terrific upcoming thriller Always Shine, which I reviewed from the Tribeca Film Festival (and which she won Best Actress at that same festival for). No word on who she's playing (naturally they're keeping everything tight to the vest) but I get a little giddy picturing her done up a la Daryl Hannah's Pris, I have to say.

Doc Corner: Mayles' In Transit is a Stunning Achievement

Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand. This week we look at the final work of Albert Maysles, In Transit.

Last week we looked at Chantal Akerman's final film, and this week completely by accident I am reviewing another final film by another towering name in documentary filmmaking. In a career that includes Grey Gardens, Salesman, Gimme Shelter, and Monterey Pop, Albert Maysles has made many films that are considered among the greatest non-fiction titles ever made. And while last year’s glimpse into the life of aging fashion icon Iris Apfel, Iris, was billed as his last work, it is in fact this deeply searching piece of cinema verite made in collaboration with Lynn True, David Usui, Nelson Walker III, and Benjamin Wu that is his last work and an incredibly fitting one, too. It’s the work of a documentarian unmistakably trying to grasp as much experience in the world and revel in the unique people and share it with audiences before its too late.

The beginning of In Transit informs us that the Empire Builder is America’s longest and busiest passenger rail, constantly shuffling people between Chicago and the Pacific Northwest. The roaming cameras latch onto individuals just long enough to hear their story before moving on over its brisk 76-minute runtime and few are offered more than a few minutes of screen time at most. [more...]

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