What's Up With Opera Pictures, Doc?

For the past year or so various Streep related announcements have revealed a curious trend: Meryl Streep is suddenly really into musically-themed pictures with four consecutive pictures of that ilk from 2014-2016 (with the exception of her cameos in other prestige dramas). First came Into the Woods, then Ricki & The Flash and next year it was supposed to be all about the Operas.  Opera? Yup. She signed on for a very promising sounding comic bio about a terrible singer Florence Foster Jenkins to be directed by Stephen Frears. The fate of the fourth picture, a filmed adaptation of the stage play Master Class, a fictionalized drama about Maria Callas's time as a voice teacher, is now up in the air. The HBO project aimed to reunite Streep with her most frequent collaborator Mike Nichols but five months after the project was announced, Nichols passed away.

Whether or not Master Class goes before cameras (with or without Streep) it will surely keep getting stage revivals since "La Divina" continues to fascinate actors and storytellers.  French diva Fanny Ardant already played the opera singer for the screen in Franco Zefirrelli's Callas Forever (2002) and word broke yesterday, complete with this gorgeous promotional poster, that Noomi Rapace is next. 

Noomi Rapace recreates a famous Callas photo

She'll star in the already fully funded Callas for director Niki Caro. Rapace broke out in a big way with the Swedish Dragon Tattoo movies but subsequent efforts as an international leading lady haven't attracted as much attention (sorry but Michael Fassbender stole all Prometheus thunder). Still, the writer/director Niki Caro isn't a slouch when it comes to winning her actresses attention. She's only made five movies including the very recent and very atypical McFarland USA, but two of them resulted in Best Actress nominations: Keisha Castle Hughes in Whale Rider and Charlize Theron in North Country. So chalk Rapace down as a threat for the shortlist in 2016 or 2017, depending on how quick they are about this. 

E.T.'s Wish Fulfillment Fantasy

National Bike to Work Week. Here's Lynn.

It’s fun to zip around on a bike, but who among us hasn’t dreamed of having a bike that can literally fly?  If The Wizard of Oz engraved the image of a flying bicyclist into our brains as the ultimate nightmare (that moment when the mean neighbor turns into the Wicked Witch of the West still sends chills down the spine), then E.T. replaced it with the ultimate wish-fulfillment fantasy for legions of ’80s kids everywhere.

In a movie filled with memorable images, this one (which Spielberg’s Amblin Entertainment would later adopt as its logo) remains the most iconic.  Separated from the film, there’s something haunting, even melancholy, about the sight of that tiny silhouette suspended against the giant, low-lying full moon – a hint, maybe, that E.T. must wane before he waxes again.  Yet the memory it evokes is Elliot’s incredulous joy as E.T. lifts his bike into the night, accompanied by John Williams’ soaring strings.  No matter how many times you’ve seen it, it still feels like the first time.  Never mind that the scene was shot against a blue screen, with cranes, and the footage of the forest and moon added in post-production.  It’s still magic.

The second liftoff comes at a much tenser moment, following an emotionally draining sequence in which E.T. dies and is brought back to life, and a white-knuckle bike chase – a standout scene in itself – in which E.T. and the boys are almost cornered several times by the authorities.  The suspense is surprisingly drawn out, as the viewer knows by now that E.T. has the power of flight at his fingertips and can’t help wondering, What’s he waiting for, why doesn’t he do it?

The moment he finally does, taking the boys with him, brings as much relief as exhilaration.  It also marks a brief return to the joy and wonder of the first half of the film before the imminent four-hankie farewell.  Once again, we have the image, now expanded, of a whole row of bikes against a large bright orb.  This time it’s the sun—a setting sun.  E.T.’s time on earth is drawing to an end.  But we’ll always remember when he made our bikes fly.

Ask Nathaniel About...

Star Trek: The Motion Picture (1979) was the first movie to get a Happy Meal tie-inFollowing this week's pure emotion and best (second) actress... it's time for more reader questions. Before you happily type away, do remember: the more cumbersome and enormous your Q, the least likely it gets an A. Not every question is answered but every one  is absorbed and sometimes they inspire later posts.

Questions involving 1979 (our year of the month) or summer movie season in general are especially welcome this week (though you can ask other questions too). Did you know that two hugely destructive forces that caused miners to starve and children to become obese, respectively, came to power in the summer of that year: Margaret Thatcher and Happy Meals! 

Grace and Frankie 5-6: "The Fall" and "The Earthquake"

We're almost halfway through Grace and Frankie, so here's Manuel recapping episodes 5 & 6 of this Odd Couple  actressexual Netflix offering.

The show keeps toying with playing the "Old Lady" card but these two broads are so spry and full of life (so much physical comedy!)

After gently suggesting Grace should dive right into the dating pool by activating an online dating profile, Frankie and Brianna get stoned and urge Grace to drive them for some FroYo where an ill-placed yogurt spill causes Grace to fall, break her hip and need surgery. It’s a thin plot but it’s surprising the amount of pathos the show garners from focusing on Grace’s mortality. Chalk it up to Jane Fonda who even when bed-ridden manages to imbue her character with a winnowing sense of sadness and anxiety. Of no help is Frankie who keeps reminding everyone who’ll hear her how hip surgeries are wont to be awry especially at their age.

Frankie: Dr Paul wants you to suck on this. You have to suck on the inhalation nozzle, and move the balls. Don't worry, I made a sex joke about that and he laughed.

Of course, as with almost all of these early episodes, the storyline is designed to a) showcase Fonda and Tomlin’s talent by b) creating a situation wherein Grace and Frankie realize they’re in the same boat and goshdarnit they might as well make peace with the fact that they’re “stuck with each other.” That said, in a nice callback to episode 4, it turns out that everything we saw was all a split-second Grace hallucination (she actually doesn’t fall as Frankie - surprise! - catches her before she does) most likely fueled by her guilt of having jilted Frankie at the funeral.

lots more after the jump

Best Jane Moment

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Red Carpet: Cannes Begins!

A New Season of "Red Carpet Lineup" Begins...

NATHANIEL: Bonjour Jose. You're back on red carpet duty by popular request. I dared to post about the Met Gala without a conversation to go with it and I heard it from the readers.

JOSE: I'm moved but if they saw what I'm wearing now they wouldn't ask for me.

NATHANIEL: Always blame it on Laundry Day.

Before we begin proper can I just say that one thing I find exceptionally annoying about Cannes is when stars don't pose alone but only with groups. This seems to happen most with the Jury who are joined at the hip like they will be judged as a team in this maxi-challenge. And tonight Deneuve, the great lady of French cinema, stuck with her director Emmanuelle Bercot (whose opening night film Standing Tall has received warm notices) and the cast despite a rather becoming two-looks-in-one dress.

JOSE: She wants others to bask in her light, maybe? I do love her double gown. Two Face in a couture Batman

NATHANIEL: Opening Night always brings out the A listers so we have some of Oscar's favorite gown-wearers to discuss after the jump Natalie, Naomi, Lupita, and Our Juli...

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