Beauty Break: The Fiennes Profile

this photoshoot adorned many a wallRalph Fiennes's original heyday in the mid 90s pre-dated 99.9% of the online movie world we know today (including the existence of The Film Experience in any of its forms) so I've probably never revealed to you how hard I crushed in the 90s. We used to cut his pictures out of magazines to hang them on the wall. My best friend had an even bigger thing for him and thus a veritable shrine. We felt mutual guilt given that this started with, you know, Ammon Goeth. (Don't judge!)

I felt a tinge of that old eroticism again watching the Grand Budapest Hotel trailer last week ("I sleep with all my friends"... friends? what about your fans, Fiennes, your fans!?!). Now, Wes Anderson movies are not usually with the sexytime so I'm guessing Gustav's bedhopping exploits are strictly diegetic.

Those old tingly feelings returned the second he went into profile in the trailer. Oh god, that profile. 

Even when I crudely photoshop it, it's beautiful and timeless... or at least retro timeless like a daguerrotype boyfriend. I've always thought it was beyond perfect, the Most Handsomest and Profiliest Profile in The Movies. 

The English Patient understood that and constantly offered it up in both moving pictures and promotional stills.

And in some perverse way I think the Harry Potter franchise did too, desecrating and perverting its holy planes (sculpted by God himself) by removing the nose entirely.

What are some of your favorite movie profiles? 

Kate, Barbra, and Oscar Part 1: The Queen

As a bit of context for the impending Supporting Smackdown (get your votes in), we'll be celebrating 1968 daily at Noon for the rest of the month. Here's Anne Marie on a favorite Oscar moment.

It was the night of April 14th, 1969. The Dorothy Chandler Pavilion was packed with stars for the 41st Academy Awards. When it came time to award the Oscar for Best Actress, presenter Ingrid Bergman stuttered with shock as she announced that two women had tied. Her surprise was understandable; there had been no tie in the acting branch for over thirty years. Barbra Streisand, only 26 years old, tripped over her sparkling sailor suit as she approached the podium to accept her Oscar for Funny Girl. Katharine Hepburn was characteristically absent for her historic third win, so the director of The Lion In Winter accepted on her behalf. This joint win was more than just a peculiar footnote in Oscar history. This was a rare case of the Academy getting it exactly right twice with one award.

As has been extensively documented here at The Film Experience, the Academy is often maddeningly predictable in its awards-giving. However, at its best an Oscar can be a celebration of an explosive newcomer on the cusp of an incredible career (e.g. Vivien Leigh in Gone With The Wind) or a salute to a seasoned veteran for a risky performance at her artistic peak (e.g. Vivien Leigh in A Streetcar Named Desire). In 1969, both happened: Katharine Hepburn won for the second time in a row for a virtuosic, against-type performance as Eleanor of Aquitaine in The Lion In Winter, and Barbra Streisand won for her instantly-iconic turn as Fanny Brice in her very first film, Funny Girl. While these two women can share that Oscar win, they certainly cannot be confined together to a single blog post. If you'll forgive my fangirl squeals of excitement, I'll start with Hepburn.

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Team Top 10: Horror Films AFTER "The Exorcist"

It's Amir here, bringing you the second episode of this month's Team Top Ten. Last week we looked at the best horror films made before The Exorcist. This week it's time for everything that came after that seminal classic. Moreso than in the previous list, Team Experience members have agreed on canonical titles, barring an exception or two. This isn't to say there weren't any surprises. We decided against compiling a preliminary list of eligible titles before voting - precisely to avoid total agreement on our choices - and lo and behold, differences in opinion over what is considered horror lead to some major eyebrow-raisers; I'm already anticipating your comments about the absence of Jaws. But that's the fun in list-making.

Without further ado join us for the haunted house, serial killers, and terrifying isolation of...

The Top Ten Best
Post-Exorcist Horror Films

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Curio: Surrendering to Dorothy

Alexa here. This fall has put me in home-decorating mode while we look for a new house; I am using a lot of my brain space filling the space we haven't found yet. My fantasies have recently led me to look for art that represents my love of film, but not in an obvious, film-poster way. So I'm pretty sure that something from UK design Studio Dorothy will find its way into our home.  

Dorothy is a group of 4 designers who create some unexpected and clever film art.  On the top of my lust list are these prints from their Hollywood Star Chart series, wherein they re-imagine constellations as American films from cinema's Golden Age and the modern era.  

Two closeup details...

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Crazy/Possessed Ballerinas. Are There Any Other Kinds?

In preparation for our two part Horror Best Listing (pre-Exorcist and post-Exorcist which arrives tonight) I caught up with a few classic titles. One of them, briefly discussed on the latest podcast, was Dario Argento's Suspiria (1977). I can't say I took to it exactly, despite being partial to films which boozily strip naked and beg their Production Designer & Cinematographer to f*** them.

slumber parties in horror movies? never a good idea

Suspiria (have you seen it?) starts sort of well, flying right into an unnatural rainstorm with a weirdly off kilter urgency as ballerina Suzy Bannion (Jessica Harper) arrives in Germany to attend an prestigious ballet academy. But those first two kills are so yuck making the intro a mixed bag for me. For its middle section, which I assume is where the film's classic status derives, the movie does little cul-de-sacs in creepy/garish atmospherics punctuated by two perversely inventive murders. But then, oops, time is up. For its last trick, Suspiria speeds through a dud finale with mood-killing exposition (how was Udo Kier ever this young!?) and badly dated visual effects. By the time the credits appear, it's lost pretty much all of its intermittent unnerving power. For me at least; I understand others really do dig it.

After Suspiria ended, my mind wandered to a more general cinematic question: Are there any silver screen ballerinas that are happy?

See, it seems like screen ballerinas are always batshit crazy whether they're...

Suspiria

...possessed by the occult

The Red Shoes

...dancing feverishly as if possessed by toe shoes

Black Swan

...having psychotic feathered breaks

The Turning Point

...or engaging in neurotic Oscarbait-offs. 

Can you think of any well adjusted ballerinas in fiction?
And if you can't whose your favorite nutjob ballerina?