Monday Monologue: Barbara's Revenge

Dame Judi Dench has been on my mind lately what with the eye condition, a new James Bond film coming and Marigold Hotel in theaters. So herewith an article from 2008. If you only started reading The Film Experience in the past few years, it's new to you! May is also Mental Health Awareness Month so let's appreciate some crazy bitches...

They always let you down in the end."

My contrarian opinion of Dame Judi Dench is that sometimes she phones it in. How many ways can one play the quippy unfazeable grande dame? But in Notes on a Scandal (2006), she's unimproveable. Faced with the atypical character of "Barbara Covett", Dench rises and soars. The film's politics are horrendous: boo hiss --an evil predatory spinster lesbian attempts to destroy a heteronormative marriage! But the actress is magnificent, giving the film a metronome precise drip drip of theatrical malice.

My favorite sequence in the film runs from Barbara's inconsolable grief for her lost feline, through the resulting perceived betrayal by Sheba Hart (Cate Blanchett), who doesn't have time to console her, to the exquisite sequence when she is confronted with another teacher with amorous feelings for Sheba. She boils with vengeance in mind.

You'd like me to ask Mrs Hart if she's inclined to commit adultery with you? I don't want you to suffer more than is necessary. No one should. I couldn't possibly speak for Mrs. Hart but instinct tells me you might not be her type. 

"She's got a type, then?" is her co-worker Brian's sad response. The film has a few exquisite and small supporting turns and Phil Davis (also terrific as the husband to Vera Drake) is aces in this scene, all befuddled crush turned to shell shock.

Kettle's boiled. Dench likes her tea with bile.

Oh it's no reflection on your attractiveness. My impression is that her preference is for the younger man...surprisingly young; Boys, I'm told. Naturally she doesn't discuss any of this with me but I've been hearing some rather alarming rumors about one in particular.

Playground gossip, staffroom whispers and so on. You might know the boy in question. Ummm... Stephen Connelly."

Brian indicates that her tea is ready.

I think the kettle's boiled.

[V.O.] You say the words and it's done. Easy. Judas had the grace to hang himself. But only according to Matthew, the most sentimental of the apostles. Is this the last night of her old life? I wonder how long my messenger will take?

People like Sheba think they know what it is to be lonely but of the drip drip of long haul no end in sight solitude, they know nothing. What it's like to construct an entire weekend around a visit to the laundrette or to be so chronically untouched that the accidental brush of a bus conductor's hand sends a jolt of longing straight to your groin. Of this, Sheba and her like have no clue.

Dench's every line reading is carved out of the tough bark of decades of loneliness and cynicism; if you could cut through Barbara's hardened shell, you'd see disappointment and repression expanding like rings in an ancient tree. As the words escape her, she sharpens them to a lethal point with fermented emotions and curdled wit, wielding them like weapons. Earlier in the film, Barbara refers to herself as a battle axe. For a woman drowning in self-delusion, it's a surprising lucid self-assessment.

"The Exorcist" and Nothingness

[Editor's Note: Beau McCoy is a longtime reader who I met recently. I quite like his writing and have asked him to contribute to the site. I hope you'll encourage him in the comments to return again. He doesn't have a blog so I'm featuring his "Hit Me With Your Best Shot" entry here as a kind of sneak peak to Wednesday night's group activity looking at "The Exorcist". I'm already terrified to follow this entry up. It's quite an opening scene. Are you joining us on Wednesday? -Nathaniel]

by Beau McCoy
There are few horror films whose reputation precedes them quite like The Exorcist (1973). Even if you never see the film, you know it. You know what it's about. You know specific scenes and you know certain images, even if you can't quite remember how you came across them. In much the same way Friedkin intended for certain subliminal imagery to make its way into the film, (using failed makeup tests with a model), the film inserts itself, impermissibly, into the subconscious of those who experience it in one way or another.

When you hear about films, if you're anything like me, there's something that hits you that I've called 'The Wave'. A tsunami of emotion, memory, nostalgia, fear, and regret that gives you opportunity to view yourself viewing that film in a different time. I can't remember much from the early part of my life. There are people who I see after years and I can't recall exactly how it was I knew or met them in the first place. But with a film, it's as though it made its way into me, burrowing itself into my subconscious, or heart, dick, what have you, and when it's called upon, it pops up cheerfully like an old friend to say 'Hey! What have you been up to?' 

The Exorcist, appropriately enough, is not so cheerful. It looms. [Beau's best shot after the jump]

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Take Three: Piper Laurie

Craig (from Dark Eye Socket) here with this week's Take Three. Today: Piper Laurie

Take One: Hesher (2010)
Laurie has played the grandmother figure a few times in recent years (Hounddog, Eulogy, The Dead Girl), but she best conveyed matriarchal feeling last year in Hesher. The film uses the familiar narrative coupling of a loveable old person and unruly younger person connecting despite obvious differences. This time it's carried out with keen subtlety because the people involved are Laurie and Joseph Gordon-Levitt, who make this arrangement work in a delightfully fresh way. Their friendship isn’t the main thrust of the narrative, but a key characterful diversion, and the genuinely heartfelt union elevates the film with tiny moments of tender affection.

Laurie's Grandma is there for her grandson (Devin Brochu) through the mourning of his mother and later when Gordon-Levitt’s stoner/drifter crashes the family home. Her open acceptance of the stranger in their home starts as comically baffling but becomes almost profound. A bedroom scene where the Grandma and Hesher share tales of their lives over a bong contains obvious comedy. But Laurie’s performance – especially her indistinct and sweetly sing-song delivery – creates an odd pathos. She's giving us glimpses of her life before old age took its toll. This scene follows an earlier moment where nobody takes her up on her offer to accompany her on her morning walk. Unfazed, yet with a hint of melancholy barely audible to the others, she utters: “Well, you know you’re always invited.” She arouses a rush of emotion in five small words. "Grandma" couldn't might've been a mere peripheral presence or a parody, but she's more than a token old lady in Laurie's hands. 

Godfearing loons and corporate megabitches after the jump

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Hulk Smash Box Office!

Here's one of the very smartest things about The Avengers that I read all weekend and surely a sign as to why it's handily smashed opening weekend box office records with its mighty $200 mil.

Perhaps people like The Avengers so much because it celebrates a triumph of branding. The Hulk reinforces his brand by blending together a sensitive, indie, yet still hunky Mark Ruffalo with a green, childlike, cartoonish embodiment of aggression that smashes things.  Viewing the film is like watching Pepsi chat with McDonalds ironically about the inadequacies of Apple as Facebook dons a blue mask before ripping Nike's hammer away in a fit of pique."
-The Film Doctor

I haven't read this elsewhere but I think it's worth noting that this exact same weekend 10 years ago was also historic. Spider-Man (2002) was our first ever $100+ opening weekend. In ten short years the booty has practically doubled but in Spider-Man's defense they have raised ticket prices radically in that span of time. I liked The Avengers but the only way I'd see it again in theaters is if I can find a matinee 2D screening.

Hulk crush Harry Potter & Batman © Nathaniel Rogers

TOP FIFTEEN 
01 THE AVENGERS new  $200.3 Review
02 THINK LIKE A MAN  $8 (cum $73)
03 HUNGER GAMES  $5.7 Review (cum $380.7... and suddenly looking far less likely to stay the #1 movie of the year)
04 THE LUCKY ONE  $5.5 (cum $47.9)
05 THE PIRATES! $5.4 (cum $18.5)
06 FIVE YEAR ENGAGEMENT  $5.1 (cum $19.2)
07 THE RAVEN  $2.5 (cum $12)
08 SAFE $2.4 (cum. $12.8)
09 CHIMPANZEE $2.3 (cum. $23)
10 THREE STOOGES $1.8  (cum $39.6)

11 CABIN IN THE WOODS $1.5(cum. $38)
12 JOHN CARTER  $1.3 Review (cum $75) 
13 21 JUMP ST  $1 Review (cum $133.9)
14 AMERICAN REUNION  $.8 (cum $55.3)
15 THE BEST EXOTIC MARIGOLD HOTEL new $.7

What did you see over the weekend? I checked in at the The Bext Exotic Dame-Packed Hotel... which I'll write a little something about soon. If they were going for counterprogramming against The Avengers maybe they should have opened in more theaters? With Hotel's high per screen average and a weak showing for everything but the superheroes (and a strangely resurgent John Carter. What's going on there???), I bet they could have opened in the top ten. Then again, I assume Manhattan's very mobile elderly get out to the movies far more often than their counterparts elsewhere. It seems impossible but we may have been the youngest people in the theater.

Linksplosion

Scribble Junkies wonders if short men make better directors
My New Plaid Pants sneak peaks End of Watch with Jake Gyllenhaal and Michael Pena
IndieWire Oops, we deleted the movie. The growing pains of digital cinema
Cinema Blend Joss Whedon on his success with The Hulk. Speaking of...
Tom Shone thinks the Hulk is the only thing he got right.
Huffington Post thanks the foundations laid down in the Whedonverse for The Avengers success
USA Today gets good quote from the Core Four in The Avengers. And everyone has a good laugh about Mark Ruffalo in his motion capture phase. The man himself:

The first day of the leotard I said, OK (expletive), get a good laugh. Let's just get it out in the open. There was a lot of snickering and off-color jokes about the leo part of my tard. I don't think that needs explaining. 

Wow Report the best job in Hollywood is...
ASME announces the best magazine covers of the year. Truly odd choices here, I have to say. Mila Kunis' GQ cover is the only actress cover featured. 
Guardian sad legal battles over the Zsa Zsa Gabor estate. The famous actress is 95 and is probably not long for this world
Forbes released their list of the 100 Most Powerful Women in the World. The highest and only ranked actress is Angelina Jolie at 29 (unless you think of Beyoncé #18 as an actress). 
Newsorama has a ten-wide list of things we've learned from The Avengers... but it's more about what Marvel Studios can learn from it. 
The Mary Sue Brave's Princess Merida already showing up at Disney parks 

Theater Watch
Potentially terrible news for New Yorkers. The fate of the awesome Zeigfeld Theater on 54th street is up in the air. That's a pity. This is hallowed ground we're talking about. It's one of the few single screen ginormous theaters left. It's where I saw Moulin Rouge! for the first time. It's where I saw Michelle Pfeiffer in the pflesh and its the only suitable place for big deal starry movie premieres in Manhattan. Please don't close up!

This Weekend's Must Read...
The Hairpin points us to this amazing Elizabeth Berkeley interview right before Showgirls (1995) came out. It's hilarious and fascinating and sympathetic in retrospect. So much titillating delusion.

I thought, ‘I have to do this.’ I mean, this role, I would kill for. It’s very rare you read a script where the whole focus of the film is on a woman. Also, I’m so passionate about what I go after and I really felt a lot of connection with the character right away...

The bottom line is the character is so emotional. She’s constantly on the edge of a breakdown so that was hard because what’s two minutes in her life was 17 hours for me. There was one scene in particular where I’m on stage auditioning for the showgirl spot where Alan Rachins’ character is wanting me to put ice cubes on my nipples. That was so difficult. Everyone on the set just felt really upset by it because the fact is that goes when showgirls audition. I mean, it’s part of the process.  

Authenticity!