The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
Cannes is 6 days away and it will be all about Kristen, with two films in the main selection. Information about the films screening keeps trickling in everyday, including these 2 photos. And today the full screening schedule was released. Our dates with Kristen are Wednesday May 11th for Cafe Society and Tuesday May17th for Personal Shopper.
Which look do you prefer, modern or period? Woody Allen or Olivier Assayas?
Ask TFE's ringleader a question. I'll pick a handful or two to answer soon on the blog for the next Q&A column. (Remember questions that require top tens or book-length responses will be ignored for space & time reasons)
If you missed the Best Shot roundup for Death Becomes Her, click here.
For my part this week I've opted to unearth and spruce up an old essay from the vaults about this great 90s comedy. The article is illustrated with my 12 favorite shots from the movies. Yes, I choose a "best" but it was a close call. If you joined us in the past six years it's new to you. And if you are too young to have lived through Meryl Streep's career transition in the early 90s and Goldie Hawn's status as a hot box office comedy, I think you'll find it particularly interesting.
It's the penultimate episode as Manuel has worked his way through all the LGBT-themed HBO productions.
Last week we looked at Nightingale starring David Oyelowo, a film you should definitely seek out if you want further proof that Oyelowo is one of the best actors working right now. This week, the latest LGBT character to be introduced into the HBO canon: Officer Paul Woodrugh from True Detective’s second season, played by Taylor Kitsch who everyone I know knows from Friday Night Lights and thus keeps trying to convince me is a promising newcomer. I've only ever encountered him in John Carter and The Normal Heart (discussed previously) and neither have really convinced me that this very attractive young man is really all that. Needless to say, I was ready to see what he'd been given to do here.
(Spoilers ahead)
“I was just tryin' to be a good man.”
“Well you don't try right.”
True Detective truly embraces its Raymond Chandler/gumshoe genre by having characters often speaking in impossibly blunt if overtly florid language. Take the above dialogue: Kitsch’s Paul is driving his fiancée to safety (his cover may or may not have been blown, don’t ask) and talk turns to why he even pursued her to which he responds that he was just “trying to be a good man.” Her retort is perhaps a bit on the nose, especially as viewers know that Paul has certain sexual proclivities that make his attempt to do a woman “right” seem a bit self-serving. (He enjoys the company of men and, staying true to the implied rules of masculinity that rule this oppressively male-driven genre, he’s ashamed of this choice and the choice to keep quiet about it).
Anne Marie is tracking Judy Garland's career through musical numbers...
With Judy Garland now such an established hit, MGM worked overtime to make the most of its musical star. This meant that while Arthur Freed and the Freed Unit "made" her by crafting her star image (and arguably used her to her best advantage), Judy couldn't work with them exclusively. She was too valuable a commodity for that. So, MGM also put her under the watchful tutelage of another producer well-known for his musical mojo: Joe Pasternak.
The Movie: Presenting Lily Mars(1942) The Songwriters: Walter Jurmann (music) and Paul Francis Webster (lyrics) The Players: Judy Garland, Van Heflin, Fay Bainter, Spring Byington, directed by Norman Taurog
The Story: Had Judy's fateful short with Deanna Durbin turned out differently only six years previous, she might have met Joe Pasternak earlier. For most of the 1930s, Pasternak was a top producer at Universal Studios, with major Marlene Dietrich titles such as Destry Rides Again to his credit. However, where Pasternak really made his name was in his big "get" for Universal; he was the man responsible for bringing Durbin to the studio after MGM rejected her. Under his production and guidance, Deanna Durbin became one of the biggest singing stars of the 1930s.
However, the fact remained that Universal was small potatoes next to MGM, so when Pasternak became a major musical producer it was only logical that MGM should hire him. Presenting Lily Mars was his second film for the studio. It was originally bought as a dramatic script for Lana Turner, but Pasternak convinced the studio to recycle some songs and turn it into a Judy Garland musical. Unsurprisingly, it was another hit, grossing over $3.5 million at the box office. What is surprising is that Pasternak and Garland only worked together one more time. After the near-miss six years before, it would take another six years for Judy to work with the high-spirited Hungarian again. And much would change for Judy in that six year period.
Thursday, May 5, 2016 at 10:37AM 
Personal Shopper
Cafe Society
