Meet the Smackdown Panelists for 1943

by Nathaniel R 

The next "Supporting Actress Smackdown" arrives on Sunday July 29th so you have one last week to watch the movies / get your votes in! But before we get to that big event, it's time to meet this month's panel. We'll skip my introduction because you know me already but if you don't, here I am.

So without further ado, let's get to know the five panelists, most of whom are first-timers on the Smackdown!

PLEASE WELCOME...

Click to read more ...

Months of Meryl: The Hours (2002)

John and Matthew are watching every single live-action film starring Meryl Streep. 

#29 —Clarissa Vaughan, a higher-up and hostess of the New York literary scene attempting to throw a party for her dying friend.

MATTHEW:  Even before Meryl Streep stepped before the cameras as the unraveling hostess Clarissa Vaughan on Stephen Daldry’s The Hours, the actress already possessed a role in Michael Cunningham’s Pulitzer-winning, tripartite meditation on love, loss, and Virginia Woolf. Early on in Cunningham’s 1999 novel, Clarissa, while shopping for flower, catches sight of a movie star who may be Streep or Vanessa Redgrave or, much less excitingly for Clarissa, Susan Sarandon emerging from her trailer with an “aura of regal assurance.” Streep’s ephemeral appearance in what will prove to be one of the most pivotal days of Clarissa’s life signifies, quite literally, the sublime; her quasi-cameo is a perfect encapsulation of one of those chance, indirect encounters with a famous face that we use, with varying levels of embarrassment, to distract us from the mundanities of our daily routine, a glimpse of the extraordinary amid the everyday. That Streep the Star, who was gifted a copy of "The Hours" by Redgrave’s late daughter Natasha Richardson, is removed from Daldry’s film speaks to the many, many excisions that occur within any page-to-screen transfer, but it also informs us that Streep’s cinematized Clarissa Vaughan is simply beyond distraction...

I will always appreciate Daldry’s version as a rare if principally partitioned meeting of three extraordinary screen stars...

Click to read more ...

Venice Film Festival Gets "First" First

Chris here. Get ready for the fall film festival announcements to start rolling in at rapid speed. NYFF just announced Alfonso Cuaron's tightly guarded Netflix saga Roma as their centerpiece (not a world premiere, so likely to pop up elsewhere), but another big reveal was just announced: Damien Chazelle's Neil Armstrong thriller First Man starring Ryan Gosling and Claire Foy is our Venice Film Festival opener. This marks the second time that Chazelle has been invited to open the Lido after La La Land, but this go around looks to be a very different spectacle from the director.

Things have been quiet on the film since that first trailer, but the Venice opening spot should stir up quite a bit of attention before the film opens on October 12. The rest of the Venice lineup will be announced next week, July 25. While Venice trophies don't always translate to Oscar glory, last year's top prize Golden Lion winner The Shape of Water was our eventual Best Picture winner. Could First Man have a similarly successful launch? Oh the joys the fall festival season!

The Furniture: Mattes, Moons and Mountains in For Whom the Bell Tolls

Daniel Walber's series on Production Design. Click on the images to see them in magnified detail.

Sam Wood directing Ingrid Bergman and Gary Cooper in 1943's top picture

It can seem kind of crazy that For Whom the Bell Tolls was the top box office hit of 1943. The star power of Ingrid Bergman and Gary Cooper played into it, of course. So did the fact that it was an adaptation of Ernest Hemingway’s popular and recent novel. And there’s the obvious appeal of Cooper fighting a bunch of Fascists, a year and a half after America’s entry into World War Two.

The thing is, he doesn’t actually do all that much fighting. No one in the film does. It’s mostly a contemplative interlude on the fringes of the Spanish Civil War, a brutal vacation with a band of hardened guerrillas, a doomed love story built from trauma and consummated on the high rocks. It’s 165 minutes of memory, frustration and stasis.

It also wound up with nine Oscar nominations, including both cinematography and art direction. And the collaboration between cinematographer Ray Rennahan and the design team of Hans Dreier, Haldane Douglas and Bertram C. Granger is really the highlight of the film, even against the life-giving energy of Katina Paxinou’s Oscar-winning performance...

Click to read more ...

Mamma Mia! And Me: How the Musical Changed My Life a Decade Ago

by Jorge Molina

Today Mamma Mia! turns a decade old. The film opened exactly ten years ago, on July 18th, 2008. And this weekend, what is perhaps the most unexpected sequel in the franchise factory that Hollywood has become will open.  

I could write a piece about some sort of legacy, or about what a monstrous hit it was when it opened (becoming the highest grossing live action musical ever, and the highest grossing movie in history in the U.K. at the time). I could attempt an oral history on why I firmly believe this was the most fun any group of actors has ever had on set, or an objective reexamination on why this silly and often senseless movie works so effortlessly.

But I want to get a little more personal. Because ten years ago, that movie changed the way I looked at myself and my life...

Click to read more ...