The Furniture: Thoroughly Modern Millie

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber...

Thoroughly Modern Millie opened 50 years ago this week, in the spring between San Francisco’s Human Be-In and the Summer of Love. None of 1967’s Best Picture nominees, immortalized as the birth of the New Hollywood in Mark Harris’s Pictures at a Revolution, had yet opened, but there was already something in the air.

Director George Roy Hill capitalized on this countercultural moment with an extravagant show of concentrated nostalgia. Thoroughly Modern Millie leaps back to the Roaring 20s, America’s last moment of liberated sexuality and conspicuous consumption before the Great Depression. Its flamboyant, frenetic ode to the flappers and their world was a big hit, making more than $34 million and landing 10th at the yearly box office. The film was nominated for seven Oscars including Art Direction-Set Decoration.

Yet its portrayal is not without contradictions...

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Beauty vs Beast: Make News Not War

Jason from MNPP here - I didn't take my lead on this week's edition of "Beauty vs Beast" from Nathaniel's "On This Day" post earlier but it's not a surprise that we'd both want to mark the 67th birthday of William Hurt with an acknowledgment of Broadcast News, because I think any sane person will snatch the chance to talk about Broadcast News when it's offered. I did actually contemplate a couple other of Hurt's performances for a minute - maybe Body Heat or The Accidental Tourist? But he's made a career of making the women across from him shine and I knew Kathleen Turner & Geena Davis would dominate those conversations...

... as would Holly Hunter, which is also why we're keeping her out of this even though it's Holly's birthday today too. Sorry, Holly! You'd win way too hard.

But does Hurt stand a chance against Albert Brooks' sweaty sidekick Aaron? The film's clearly on Aaron's side, no matter how kind it does try to be to Hurt's pretty boy destined for the anchor's chair. (Can you say Fake News?) Still it's some of Hurt's best work and Brooks, right-sided though he might be, sure can be a bit much, so I ask you...

PREVIOUSLY We were still riding high on Buffy fumes last week and so we had you face off the show's two best Big Bads, but you should never bet against a Valley Girl God with a taste for the shinier things - Glory stomped that puny human mayor with 60% of your vote. Said Matt St Clair:

"No contest. Glory. She is the best Big Bad of the series and had all the best lines.

"Did anybody order an apocalypse?"

"There's ice cream and puppy dogs in it for you if you start singing."

"So this is where the Slayer eats, sleeps, and...combs her hair."

Review: The Sense of an Ending

by Lynn Lee 

Elliptical and enigmatic, The Sense of an Ending has the quality of a mystery, but one that raises more questions than it answers.  That is, without a doubt, fully intentional.  It’s a film that’s designed to make you go “hmm,” not “aha,” and there’s something admirable about how studiously it avoids going for an obvious narrative or emotional knockout punch.  But by the same token, there’s something a little unsatisfying about it, too.

Based on the Booker Prize-winning novella by Julian Barnes, the film centers on an aging Londoner, Tony Webster (Jim Broadbent), who, upon being notified of an unexpected legacy, finds himself revisiting his memories of an incident from his youth and eventually coming to grips with the fact that he’s never fully acknowledged or even recognized the truth of what really happened...

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On this day: Vivien's Oscar, Kevin's Bacon, Carter's Write-Down

On this day in showbiz history

The Story of Miss Lonelyheart from Péter Lichter on Vimeo.

1913/1914 Did you know that Detective Doyle (Wendell Corey) and Miss Lonelyhearts (Judith Evelyn) from Rear Window shared a birthday? Now you do! (Uff, I love Rear Window so much)
1942 Rings on Her Finger, a screwball comedy starring Henry Fonda and Gene Tierney opens in theaters
1948 Gentleman's Agreement wins Best Picture at the 1947 Oscars but the enduring statues from that year are surely Edmund Gwenn's Supporting Actor win as Kris Kringle in Miracle on 34th Street and the Cinematography and Art Direction wins for the astounding Black Narcissus. What a picture! 
1952 Vivien Leigh wins her second Best Actress prize at the 1951 Oscars for A Streetcar Named Desire. Absent from the ceremony, Greer Garson accepts for Vivien...

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Open Thread

What's on your cinematic mind as this new week begins?