HBO’s LGBT History: Girls (2012-)

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

Last week we looked at Back on Board: Greg Louganis, a doc that traced the life story of the (now) out gay Olympic diver. That meant that for two straight weeks we’ve been looking back at the latter half of the twentieth century (previously we talked about Robert De Niro’s gay father), and so to shake it up we’re talking Girls this week. Well, the boy in Girls, but still.

With its new season well on its way, and with Elijah (played deliciously by Andrew Rannells) given a heck of a love interest this past week, I couldn't help but write up this most recent episode rather than reach further back. As always when we dip our toes into television we’re focusing on one episode and really, I couldn’t have planned it better if I’d tried seeing as “Old Loves” allows us to talk about Elijah within the confines of a burgeoning relationship and talk about that very steamy (if hilarious) sex scene. The title of the episode, as Lena Dunham has explained elsewhere, is a nod to the Tumblr of the same name which is name-dropped in the episode that puts up pictures of old celebrity couples (Tom Green & Drew Barrymore! Matt Damon & Winona Ryder! Thandie Newton & Brad Pitt!). But it is the “new” love in the episode that will be our focus today.

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Mercedes McCambridge Centennial: "Charlie's Angels" & "Bewitched"

Today is the Centennial of one of the most singular character actresses of the 1950s, Mercedes McCambridge, born in Joliet Illinois on this very day in 1916. We hope you've enjoyed our mini retrospective. We previousy discussed her sensational debut in All The King's Men (1949) her final Oscar nomination for the Texas epic Giant (1956) and her sorry fate in a teensy part in the Airport disaster series. (In the past, ICYMI, we've amply discussed The Exorcist in which she did truly legendary voice work as well as the fiery abandon of must-see western Johnny Guitar.) 

In The Concorde... Airport '79 article, Tim talked about the disaster genre's often ...um... disastrous treatment of aged film stars in cameos. But discarded stars of Old Hollywood also frequently collected paychecks through TV guest spots. On the small screen there was the same roulette wheel chances at success. In fact McCambridge was more frequently spotted on TV than in film, switching between both for her entire career after her launch in radio in the 1930s. Many early TV shows are impossible to see now but let's discuss her downright fantastic guest spots on Charlie's Angels (1978) & Bewitched (1968).

Murder mysteries and witchcraft -- and a chance to discuss two classic camp series (oh you know you want to!) follow after the jump....

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Judy by the Numbers: "If I Forget You"

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

Click to embiggenToday's clip is a plea for the importance of film preservation. The following 3 minute clip is all that is currently known to survive of a short called "If I Forget You" starring Judy Garland and Bette Davis. That's right, two of Classic Hollywood's biggest stars once shared the screen and we know virtually nothing about it.

The little we do know about this teeny number and the tiny short surrounding it comes from reviews and an ad (pictured left) that ran in a few trade papers circa April of 1940. The short was part of the third annual tribute to Will Rogers, who passed away in 1935. It featred Kay Kyser and his Kollege of Musical Knowledge, then Judy singing the title song, then Bette Davis stepped onscreen to ask audiences to donate to the Will Rogers Memorial Commission (which benefited the Will Rogers Memorial Hospital).

The Movie: If I Forget You (MGM short, 1940)
The Songwriters: Irving Caesar (music & lyrics)
The Players: Judy Garland, Kay Kyser, Bette Davis, director unknown.

The Story: On the surface, a one reel ad for a charity seems underwhelming enough (and certainly Judy's performance, while sweet, is standard fare for the starlet), but when taken in context, If I Forget You shows how powerful one star's image can be even after death. The comedic cowboy had been gone 3 years, but the charity bearing his name could sway a week of exhibition ("Will Rogers National Theatres Week") and get two uncooperative giants (MGM & WB) to lend major talent for a brief cameo. This is even more impressive when you consider the fact that Will Rogers was a 20th Century Fox star. Will Rogers's image had the power to cross studio lines and exhibition rules. It probably didn't occur to Judy Garland as she sang Caesar's song that her image may one day become as powerful as Rogers's had been. Nonetheless this small (nearly forgotten) short reminds fans and academics that the aura of studio system stars can have tangible effects even after their deaths.

previously: "The Land of Let's Pretend" (1930), "The Texas Tornado" (1936), "Americana" (1936), "Dear Mr Gable" (1937), "Got a New Pair of Shoes" (1937), "Why? Because!" (1938), "Inbetween" (1938), “Zing Went the Strings of My Heart” (1938), "Over the Rainbow" (1939), "Good Morning" (1939)

Hit Me With Your Best Shot: Atonement (2007)

Briony's eyes. Every shot is telling, this one directly, confrontationally to the camera.

Stupendous. It's stupendous, darling."

That's Mother Tallis's review of her precocious daughter Briony's (Saoirse Ronan) very serious new play at the beginning of Atonement (2007). It's also any sensible person's reaction to this amazing motion picture. Seeing it again (I hadn't seen it since 2007) was close to overwhelming. Praise be to Director Joe Wright and Cinematographer Seamus McGarvey because this thing hasn't aged a single day. If anything it's become more beautiful with the passage of time, a neat trick since memory is one of its great subjects. It's superbly acted (particularly by James McAvoy in what is certainly his most moving performance), and features a veritable parade of emblematic, gorgeous, and thrillingly visceral images for this exercize of ours. What to even choose: Cecilia wet and haughty at the fountain; The lovers, already "characters" in future novelists Briony's mind erotically pressed against books in the library (my runner up for Best Shot); that amazing tracking shot at Dunkirk which pulls us out of the story (sort of) just long enough to stingingly remind us that War doesn't care about Individual Characters and Their Arcs -- it's ready to soil everything; any closeup of Briony whether she's imaginatively confused (Saoirse Ronan), guilt-ridden shellshocked (Romola Garai), or, wide-eyed with the fraternal twins of truth and fiction (Vanessa Redgrave); and of course anything and everything involving Keira Knightley in the green dress, the dress that should've won Jacqueline Durran the Oscar in a landslide.

Here are the choices from our Best Shot Club, open to anyone who wants to join after the jump...

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A Series of Unfortunate Casting Decisions

Laurence here with some more casting news from the television world. When news broke in 2014 that Netflix would be adapting Lemony Snicket's A Series of Unfortunate Events books into a series, it was exciting. The 2004 film adaptation never really struck a chord, nor was it successful enough to turn into the Harry Potter-esque franchise Nickelodeon wanted it to be. It was received relatively well, but it has become something of a pop culture footnote.

Television is a pretty natural place for an adaptation of a 13-book series, however, and Netflix's love of hurling absurd amounts of money at every algorithmically pleasing premise bade well for a new adaptation.

After a long time spent in 'talks', yesterday it was finally confirmed that the actor cast to play Count Olaf in the series is...Neil Patrick Harris? Now, NPH has been doing solid work in proving his range post-HIMYM. He was enjoyably creepy in Gone Girl, and his stint in Hedwig on Broadway showed he could be, well, Hedwig. But whatever you think about Jim Carrey's performance as Olaf, he was nothing if not indelible.

But NPH as Count Olaf seems, well, a stretch. There's no denying that he has comic chops. But Olaf is an evil, strange, reptilian character, such that casting NPH makes the whole thing feel sanitised and kid-friendly. Add in the fact that their casting of Violet (Malina Weissman) and Klaus (Louis Hynes) seems to be both skewing younger than the film and strangely insistent on replicating the look of the film's stars, Emily Browning and Liam Aiken.

One bright spot, at least, is the casting of Patrick Warburton as Lemony Snicket, who was played by Jude Law in the film. But despite NPH's Halloween costume bona fides, Netflix could have been more creative. Imagine Kathy Najimy as a genderbent Countess Olaf. Imagine.

Perhaps the most curious aspect is that the series is set to be directed, at least at first, by Barry Sonnenfeld of Addams Family Values fame, who was originally set to direct the film. At the time, he hired Daniel Handler (the writer behind the Snicket pen name) to adapt the books as a musical. Given that they have also cast two-time Tony nominee K. Todd Freeman, it will be interesting to find out if that's what we're going to get. But is that what the books deserve?