Lars Von Trier's Bad Girls of Cannes

It's Girls Gone Wild this month at The Film Experience. To coincide with the ongoing Cannes Film Festival, here's Chris on von Trier's wild women from Cannes past.

We miss you, Lars!

It's been five years since reigning Cannes bad boy Lars von Trier debuted a film at the festival - practically eons by the festival's standards for their many favorite auteurs. But he lost their favor for his glib Hitler comments during Melancholia's Croisette visit. The resulting Persona Non Grata Status has left us too long without a Cannes Von Trier (Anti)Heroine. Some call him a misogynist, but the provocateur has consistently given us fully-faceted women fighting against circumstance however they must. Let's take a look at their bad behavior:

Emily Watson as Bess - Breaking the Waves

How Bad?: 7/10 - Lots and lots of self-flagellating sex with strangers. Bess puts herself in increasing dangerous situations even when she knows the dangers of her actions.

But Really She's a Saint, It's All For Love!: She's only acting out at the request of her ailing, brain-damaged husband, to whom she relays her conquests.

Rewarded for Her Efforts: Watson didn't win Best Actress at Cannes (Brenda Blethyn was honored for Secrets & Lies), though this performance is the only Oscar-nominated in Von Trier's filmography.

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O Captain! My Captain!

Adorable.

And also full of surprises. Did you hear that Jenny Slate & Chris Evans are suddenly a couple. Who saw that coming? 

On the First Day of Cannes......

It's Murtada reporting about Cannes, but sadly not from Cannes.

The main competition jury at Wednesday's photo call

The first day of Cannes always brings news of intriguing collaborations as projects are announced for the sidebar film market. Like Joaquin Phoenix working with Lynne Ramsay. Or Colin Farrell reteaming with The Lobster director Yorgos Lanthimos. Errr… Johnny Depp making another movie called The Libertine? With Brett Ratner? About Dominique Strauss-Kahn?? Run away, Marion!

However the two news items that got this reporter most excited are :

Isabelle Huppert in Elle
Sony Classics has acquired main competition entry Elle, directed by Paul Verhoeven and starring Isabelle Huppert. You know the same company that got Cate Blanchett and Julianne Moore their best actress Oscars and Michael Haneke and Asghar Farhadi multiple nominations and foreign language wins recently. So our excitement knows no bounds. We are 9 days away from reviews and reactions to Elle - it screens on the last day of the festival - but we can rest easy knowing it will be coming our way this fall.

Captain Dad
If you’ve seen Sebastian Silva’s last outing Nasty Baby (2015), you know that he can provoke his audience and upend expectations. Well now he’s teaming with Will Ferrell and this is the logline (from Deadline):

Rich Peelman (Ferrell) gives his wife Linda (Catherine Keener) the gift of a lifetime for her birthday: a trip through the Caribbean on a sailboat with all six of their kids and their partners. Stubborn, competitive and overly confident in his sailing abilities that are clearly out of sync with reality, Rich is determined that the vacation be run on his terms. But things do not go according to plan. His “father knows best” attitude clashes with the rest of the Peelman clan. And by the end, even the most patient of the bunch are ready to throw Captain Dad overboard, bringing new meaning to the idea of the dysfunctional family.

Michael Cera plays one of Ferrell's antagonists, so color us doubly intrigued. 

                                                       

If you are not at Cannes, which part of it do you follow online? The reviews? The fashion? The film deals? All of it?

HBO’s LGBT History: The End

It's the final episode as Manuel has worked his way through all the LGBT-themed HBO productions. 

I began this project because, after watching and recapping Looking here, I became fascinated with the idea that, with that Andrew Haigh show, the cable network had somehow reached peak gay TV even as it also managed to alienate the very viewers it was trying to coax. I wanted to, in a way, put Looking in context by watching everything HBO had produced and aired that had tackled LGBT issues.

This required a lot of scavenging—despite their shiny HBOGo and HBO Now ventures, a lot of the network’s older and more obscure TV movies and shows remain unattainable. And so I reached back and watched a lot of not so great TV movies from the early 80s, caught up with key “very special episodes” of their most well-known dramas and comedies, and later got to re-watch some of their most recent entries into this, as it turned out, rather extensive canon.

We began with Harvey Fierstein’s Tidy Endings which a year later looks as perfect an intro to the HBO brand of LGBT representation as I could have envisioned: here was a character-driven drama adapted from a well-received property (Fierstein’s one-act play) that got a prestige boost with some grade-A casting (Stockard Channing) that treated its characters with dignity and complexity. That it was also an AIDS drama (in 1988!) also told me a lot about how button-pushing and social justice-minded the network was and remains. In fact, for the first handful of entries this column might as well have been called “HBO’s AIDS films.”

What surprised me most in this journey was both the diversity of stories being told and also the homogeneity of them at the same time. Taken individually, And the Band Played On, The Normal Heart, Vito, In The Gloaming, Angels in America and Common Threads: Stories from the Quilt are all urgent and necessary projects that build out the narrative of the AIDS crisis; but seen as a collective, you cannot help but see the very narrow racial and socio-economic stories being told here. Angels is a near-perfect play/miniseries but I do often wish Belize’s world and personal life had been offered to us in equal measure with his fellow characters. Similarly, while gay men were amply represented, I found myself dismayed (though not surprised) at the lack of lesbian stories.

These are, of course, issues that are larger and more systematic but they’re worth keeping in mind even as I still stand by the belief that HBO has championed LGBT representation like no other television network in history (though ABC and ABC Family/Freeform on the one hand and Netflix on the other might be giving them a run for their money right now).

Rather than offer an exhaustive index of everything I covered—22 television shows, 18 feature films, 16 documentaries, and 2 miniseries—I figured I’d offer a sampling, with three Top 5 lists. 

Manuel’s Favorites: Top 5 Discoveries

Part of the fun of this project was the chance to watch films that I'd never seen before and there 5 may not be the "best" but they are certainly the ones I'm most glad I got to catch and write about. Bonus: even in a gay male saturated canon, I got to talk about Michelle Williams, Vanessa Redgrave, Yolonda Ross, and Jessica Lange.

If These Walls Could Talk 2 (2000)
Stranger Inside (2001)
Normal (2003)
Nightingale (2015)
Mapplethorpe: Look At The Pictures (2016)

Manuel’s Favorites: Top 5 TV

These were not only fun to write (I really could spend endless posts on my love for Andrew Rannells in Girls and the actressing work on that Mormon family drama Big Love) but also great exercises in focusing on the parts rather than the whole (say, Dane DeHaan's great turn, Rodrigo García's capable direction).

Six Feet Under, “A Private Life” (2001)
Big Love (2006-2011)
In Treatment (2008-2010)
Girls (2012-)
Sex in TV

Fan Favorites: Top 5 Most Commented

Auteurs, Sarah Jessica Parker & co., and Glenn Close drove the most spirited discussions this past year which, when you think about it, seems just about right. 

Elephant (2003)
Behind the Candelabra (2013)
Sex and the City (2008, 2010)
1998, The Year in TV
In the Gloaming (1997)

There's plenty more for you to dig through if you wanted to revisit the entire series, but for now we'll bid goodbye to the series which was challenging, exhiliarating, and exhausting, but never nothing short of rewarding. Thank you to Nathaniel, to all who commented, who shared in the experience, and who made it feel like I wasn't alone this past year. There may be another column in the future but for now, we rest (and patiently wait for Haigh's Looking film which will premiere at Frameline this June).

Judy by the Numbers: "The Joint Is Really Jumpin' in Carnegie Hall"

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

Judy Garland was wrapping production on one movie and starting production on another when she filmed a cameo for the WWII wartime musical, Thousands Cheer. Despite the fact that Garland was one of MGM's biggest stars, this cameo with José Iturbi was the first Technicolor movie she had made since The Wizard of Oz four years previous. The films between Oz and Thousands Cheer, though large in spirit, were small in budget due to Great Depression constraints. However, the onset of World War II brought about an audience boom - everyone was going to the movies to catch a newsreel and escape the fears of the war. As a result, budgets were about to skyrocket as MGM began to give Judy Garland big and colorful sets, costumes, and scenery to match her big and colorful voice.

The Movie: Thousands Cheer (1943)
The Songwriters: Roger Edens, Ralph Blane, and Hugh Martin
The Players: Kathryn Grayson, Gene Kelly, Mary Astor, Jon Boles, directed by George Sidney

The Story: The man playing both jazz and classical music as Judy swings is (as previously mentioned) José Iturbi, a Spanish conductor and pianist. Surprisingly for a classical musician, Iturbi also started an improbably successful parallel career as a character actor in MGM movies of the 1940s. While composers and musicians would show up periodically in films to "class it up" (or "brass it up," depending on whether it was Bob Crosby or Oscar Levant), none was quite so prolific onscreen as Iturbi. From 1943 to 1949, Iturbi appeared in about a picture a year, with small but noticeable parts. After all, it's hard to find a pianist with enough personality to pleasantly play for a put out Judy Garland.

Select Previous Highlights:  "Dear Mr Gable" (1937), “Zing Went the Strings of My Heart” (1938), "Over the Rainbow" (1939), "I'm Always Chasing Rainbows" (1941), "For Me and My Gal" (1942)