Hit Me With Your Best Shot: "Sunset Blvd"

For this week's special edition of Hit Me With Your Best Shot -- temporarily redubbed "Hit Me With Your Second-Best Shot" as I've declared that iconic finale off limits -- we're looking at the finest Movie About the Movies ever made. Or one of them at least. The point is it's entirely unmissable and a candidate for any sane All Time Greatest Movie list. The film never gets old or becomes irrelevant even though those are two of its best and most horrifically stared-down topics.

Billy Wilder's masterpiece (or one of them at least), immeasurably aided by inspired performances from William Holden as the screenwriter to Gloria Swanson's screen siren, is not just an acting and writing triumph. It's also a stunner in all the craft categories, particularly its Oscar-winning art direction and its cinematography by John F Seitz, a seven time nominee. His work is magnificent throughout, providing maximum pleasure to "those wonderful people out there in the dark" with his expressive lighting.

So let's get right to those (second) best shots...

A Visual Index of Sunset Blvd (1950)

(Second) Best Shot. According to these 15 movie-loving participants
Click on any image to be taken to the corresponding article
Images presented in rough order as to when they appear in the movie

My New Plaid Pants - this is not technically an entry but people, let this be a lesson to you. If you've already chosen a shot, write a sentence or two about it. The hard part is choosing after all. If you've chosen, do it. We'll link up! 

100% macabre
- Movie Motorbreath *video entry* 

'Stars are ageless.' This shot disagrees."
-I Want to Believe 

There is one entity who has never betrayed her: her 'celluloid self.'"
-The Entertainment Junkie 

Everyone, including Norma, can't help but look at Norma...
-Sorta That Guy 

This image sums up Sunset Blvd., and even more than that,  the entire psychological universe of noir... 
-Antagony & Ecstasy 

No matter how crazy Norma Desmond may be, I always find her incredibly sympathetic...
-Film Actually 

We might be entering the movie’s world through Joe Gillis’s point of view, but unlike him, we *are* here to see Norma Desmond. 
-Coco Hits NY 

It's easy to imagine she does this ever year, even without a handsome writer..."
-Awards Madness 

Already too attached to Norma and her gifts...
-Dancin Dan on Film 

If Norma Desmond is a fictionalized version of Gloria Swanson, Max Von Mayerling is a quasi-(auto)biographical portrait of Erich von Stroheim...
-Paul Outlaw 

We expect cold humiliating truth but what we get is the film's most genuinely warm moment... 
- The Film Experience 

Norma Desmond would be proud of the leading lady portraying her..."
-54 Disney Reviews 

A true star always finds the light...
-Jija Crazy Movie *first time participant*

A one-man army of servants, for her sake, steps back into his role as director once more..."
-Allison Tooey  

Please do visit each article, share, and comment. The more eyes the merrier when it comes to worshipping great stars. You haven't forgotten what a star looks like.

NEXT WEDNESDAY: 1995's [safe] starring Julianne Moore

Review: Self/less

Tim here. Over the course of four movies starting with The Cell in 2000, director Tarsem Singh has established a very distinct approach to making movies. This basically consists of applying extraordinary, unreal style to thin, whispy stories, not using style to replace substance, but using the absence of substance as an argument in favor of style as a primary storytelling and character-building technique. This has earned him as many enemies as fans, and I don't know if anybody genuinely liked 2011's Immortals, but he's certainly established himself as one of the most distinctive visionaries working in anything like the mainstream.

And now, we find what he just can't do. Self/less is the director's fifth movie, possibly his worst, and beyond question his most generic. The director's biggest and boldest visual gesture is to use a lot of sideways tracking shots. Is this what the loss of the magnificent graphic artist Eiko Ishioka, who designed the costumes for all of Tarsem's previous movies before her death in 2012, means to his aesthetic? Then there's no reason to ever hope for him again. But there has to be something deeper than that, for Self/less shares production designer Tom Foden from all of the director's work outside of The Fall, and he's pretty thoroughly dropped the ball here. There's only one set in the film that feels even slightly distinctive on any level, a sleek grey ultramodern medical lab, and even that feels like a slightly more austere version of a thing we can see in at least three or four movies every year. [More...]

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HBO’s LGBT History: Stranger Inside (2001)

Manuel is working his way through all the LGBT-themed HBO productions...

Last week we looked at the master-class in acting that is If These Walls Could Talk 2: 1961 which was oddly followed by two other short films that, had I not written about them, most of you would not have remembered. Yes, all you need to know is that Vanessa Redgrave is resplendent in that initial segment. This week we look at precisely the type of lesbian experience that Ellen DeGeneres-produced lesbian PSA skirts. Yes, we’re headed to a female prison with Stranger Inside and director Cheryl Dunye is quite the guide. Guys, this might be the best new find in this whole rewatch series.

Dunye’s film is a powerful and affecting film, timely even all these years later. About race. About guns. About feminism. About violence. About the prison system. About motherhood. About religion. About hypocrisy. About white supremacy. Why more people don’t talk about this film is beyond me (especially with Orange is the New Black having conquered pop culture the way it has). Let’s begin fixing that now...

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Poor Joe. This Spotlight is For Norma Desmond

When I issued the challenge of Hit Me With Your Best Shot: Sunset Blvd (1950), with the caveat that you couldn't use that final close up for Mr DeMille, I knew it would make for a great episode. What a stone cold classic it is, filled with potent images in every scene that are too often taken for granted given the combined impact of its haunting iconic opening and closing. What I had dumbly not remembered was how intoxicatingly full Sunset Blvd feels on every repeat viewing inbetween. You can go into each screening with one topic in mind ("I shall write about this") and come out with a dozen more topics boiling, your original thoughts crowded out of the mind's frame. So I must painfully set aside the self-deprecating script, the gestural bravado, the timelessness of its time capsule, its shame-trigger economics and sexuality. So much of it distracts from the real purpose of HMWYBS which is to zero in on a particular image from a public piece of art that seizes your individual imagination with its beauty or thematic resonance or what not, and discuss. 

So Joe McGillis will have to wait. Which is a shame. He's worth at least 11 essays of his own according to my easily distracted notes. They're messier than Norma's epic handwritten "Salome" opus which visually buries Joe long before she works up enough actual crazy to really bury him. [More...]

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1995 Look Back: The Breakout Year of Nicole Kidman

TFE will be taking several trips back to 1995 for the next two weeks, our "year of the month". Here's abstew on the one and only... - Editor

Although she had been acting in Australia since she was 16 years old, most American audiences at the start of 1995 only knew Nicole Kidman for one thing: being Mrs. Tom Cruise. Despite earning strong notices earlier for 1989's Dead Calm (and catching the attention of superstar Cruise), the Hollywood productions that followed did little to showcase the promising talent that had been hinted at. Appearing alongside Cruise in glossy modest hits (Days of Thunder and Far and Away) or playing thankless wife roles that hardly challenged her as an actress (Malice, My Life), Kidman was in danger of becoming arm candy for her famous husband. But thanks to a new pair of roles, 1995 would become the year that she finally emerged from the shadow of Cruise to start the march to her own inevitable super-stardom.

One of the ways Hollywood measures the worth of a star is by their box office. Warner Bros had been disappointed with the profits of Tim Burton's Batman Returns and decided to go in a different direction for the next franchise installment. Because of the changes, former star Michael Keaton decided not to return as the cape crusader and when Val Kilmer came onboard, it was deemed that Rene Russo (who had already been cast as the romantic lead) was too old to appear opposite the new Bruce Wayne. More...

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