Women's Pictures - Ida Lupino's The Hitch-Hiker

What a difference four years make! Well, four years and three movies. The disadvantage of having only a single month to cover a director’s entire body of work is that we have to cherry pick individual films representative of overall trends. So, even though Ida Lupino spent the period between 1949 and 1953 directing three (and a half) films which would fall under the category of women’s pictures that we advocated for so strongly last week, we now have to skip forward to the next moment in her career: film noir. However, while Lupino stopped making films featuring exclusively female protagonists, she maintained her commitment to mixing truth and drama in her stylish thriller, The Hitch-Hiker.

The film opens with a title card to inform the viewer that The Hitch-Hiker is “...the true story of a man and a gun and a car.” Surprisingly, despite the Motion Picture Production Code’s prohibition of true crime stories, The Hitch-Hiker actually is based on fact: in 1951, two hunters were kidnapped by killer Billy Cook. Cook forced the two men to drive him to Baja California, where he was recognized and apprehended by Mexican police. In order to tell this tale of survival and murder, Lupino circumvented the Production Code two ways: First, by changing just enough of the facts and names to give the story plausible deniability (and added drama). Second, by hiding violence in shadow and suggestion as only film noir can.

See how well film noir survives in the desert after the jump...

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We Can't Wait! #10: Freeheld

Team Experience is counting down our 15 most anticipated for 2015. Here's Anne Marie...

Who & What: Ellen Page's 6-years-in-the-making passion project teams the tiny Canadian with Oscar-winning goddess Julianne Moore in a story about a dying New Jersey policewoman (Moore) who fights to transfer her pension benefits to her partner (Page). Based on a true story, the film is written by Oscar-nominated Philadelphia scribe Ron Nyswaner, and directed by Peter Sollett of Nick & Nora's Infinite Playlist fame. Rounding out the already stellar cast are Steve Carrell and Michael Shannon. With this film plus Carol (more on that later in the series), this promises to be a good year for lesbians in film.

Why We're Excited About It: So many reasons: It's based on an Oscar winning short. It's a true and beautiful story about the fight for equal rights. It's Moore's second film release after winning the Oscar. If it's successful, it will be proof that an actor (Page) can come out and actually raise her profile enough to get films made. Plus on a purely shallow level, Ellen Page and Julianne Moore are adorable separately, and promise to be twice as adorable together. Observe:

What If It All Goes Wrong: The film itself seems to be in good hands, but the MPAA is a concern. Last year, we had two wonderful LGBTQ films, Pride and Love Is Strange, strangled with R ratings despite no content unsuitable for younger viewers. While Freeheld's star power would hopefully help it overcome the box office hurdles caused by an R rating, it would be a cruel irony to allow the prejudiced pearl-clutchers at the MPAA to censor a film about overcoming prejudice. Time will tell.

When: Lionsgate just won a bidding war to distribute the film, so hopefully we should be seeing it pop up in film festivals with a wider release later this year.

Previously...
#11 A Bigger Splash
#12 The Dressmaker
#13 The Hateful Eight
#14 Knight of Cups
#15 Arabian Nights
Sidebar 2 Tomorrowland
Sidebar 1 Avengers: Age of Ultron
Intro Pick a Blockbuster

Visual Index ~ Paris is Burning's Best Shots

For a film that's less than 80 minutes long, Paris is Burning contains at least that many worthy topics of discussion presenting quite a challenge for Best Shot participants. You could write 80 articles on it on entirely different subjects. The documentary was an instant sensation winning the Sundance Film Festival in January 1991, and opening that summer to big box office ($3.7 million... which was quite a lot for a documentary). It landed on top ten lists, won critics prizes and generated yet more press when it was horrifically snubbed by Oscar in the Best Documentary Feature category. The film documents NYC's ball culture in 1987 with a few scenes from 1989. By 1989 you can already feel the scene changing, being coopted, and about to be appropriated for one of Madonna's biggest hits. 

My choice and a few more words on this landmark film after this gallery of incredible images. PLEASE NOTE: Next week's topic for Tuesday March 17th (St. Patrick's Day) is the classic THE QUIET MAN (1952) set in Ireland starring John Wayne and Maureen O'Hara. Like Paris, it's available on Netflix Instant Watch so I expect y'all here Tuesday night with your choices.

PARIS IS BURNING (1990)
Best Shots according to 21 Fine Cinephiles Round the Web

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Richard Glatzer, Co-Director of Still Alice (1952-2015)

Wash Westmoreland & Richard Glatzer. I believe this photo is from around the time of The Fluffer (2001)

Just two minutes after the last post, coincidentally about Still Alice but meant to be a random amusement, I read that Richard Glatzer the co-writer and co-director had died. He had been struggling with ALS for the past few years. If you'll excuse me getting a little sentimental, I'd like to tell you my personal story about him as a way of working through my sadness today.

I can't recall the exact circumstances of our meeting but just after I had moved to New York City in 1999, we began to talk over e-mail. He was quite literally my first online friend who was actually working in movies and television around the time I was trying to launch The Film Experience. If I remember correctly our online friendship was prompted by an interview I had done with Jackie Beat, my all time favorite drag queen, for my print zine (before the website). She had worked with Richard on his first film, the underseen gay indie dramedy Grief (1993). More...

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Your Daily Reminder That Julianne Moore Won an Oscar

Hat tip and Quote of the week to our friend Ali Arikan in Istanbul

Turkish bootlegs don't have time for your bullshit."
-Ali Arikan