Curio: Myrna Loy, Cover Girl

Alexa here. Today is Myrna Loy's birthday, so to celebrate this supremely unique, intelligent, plainspoken goddess, I dug up this vintage Picture Play magazine of mine from 1940 with Myrna on the cover.

Myrna goes nautical

Myrna appeared in this 1940 issue in pictures only, ostensibly to promote her upcoming film with William Powell, I Love You Again (their ninth film together), a Regarding Henry-esque amnesiac light romance that was just another opportunity to get the two of them together.  Every time I see a film with them I think of their real-life meet cute, so perfectly described in Myrna's autobiography.

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True Blood: "Me and the Devil" & "I Wish I Was the Moon"

So get this. I offered up True Blood reviewing duties to the entire Team TFE last week when I was out of town and noone bit. What's up with that? No fangbangers in this house? Which means we've got two episodes to chat up today. Ratings for True Blood are strong this season and deservedly so. We're only halfway in but -- at this point -- it's much stronger than Season 3. It also isn't as repetitive as Season 2. We definitely approve thus far.

"Drink now."

4.5 "Me and the Devil"
Here we have a perfectly titled episode as everyone is battling their personal demons (Tara and Eric specifically) or actual demons as the case might be (Arlene & Terry who hold an exorcism of sorts in their house, still worrying about their spooky baby).

This is also another terrific rangey episode, with fast pacing, surprises and character bits. It kicks off with a violent family squabble (Tommy vs. his parents), moves expertly through tense comedy including the aforementioned exorcism, Bill glamouring his latest fling to "scream" and run whenever she sees him, and Lafayette's post Pam-cursing reaction to Marnie's 'who? me?' act.

That's some catchy shit for your headstone!"

Despite the abundance of actual plot there's graceful tightening of story threads as Sookie's finally braids to Marnie's when the women meet under the false pretenses of a reading. It doesn't turn out how Sookie or Marnie OR the audience expect.

Best Sookie Moment

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Your Fav' Eighties Ladies!

Over the past couple of months we've been holding "Best Character" polls for Oscar's Best Actress category history. We asked not who should win the Oscar but which characters own real estate in your memory. Previously you selected Miranda Priestley, Clarice Starling and other iconic bitches as your favorites from the Nineties and the Aughts. 

But what of the 1980s? Here are the results. *asterisks indicate Oscar winning performances.

Three unarguably iconic characters: Sophie, Celie and Aurora

1981-1985

1. *SOPHIE ZAWISTOWSKI (Meryl Streep) from Sophie's Choice
2. CELIE (Whoopi Goldberg) from The Color Purple 
3. *AURORA GREENWAY (Shirley Maclaine) from Terms of Endearment
4. KAREN SILKWOOD (Meryl Streep) from Silkwood
5. VICTORIA GRANT (Julie Andrews) from Victor/Victoria

Diane Keaton's wondrous performance in REDS (1981) has not been forgotten.Runners Up: To complete the top ten you'd need (in descending order) a third Streep with KAREN BLIXEN from Out of Africa, Debra Winger's EMMA GREENWAY from Terms..., Jessica Lange's rendition of troubled movie star Frances, and with nearly a tie for tenth place Katharine Hepburn's *ETHEL THAYER from On Golden Pond and Diane Keaton's LOUISE BRYANT from Reds. 

Observations: The Streepster's reascendance in the Aughts has obviously polished her earlier work to a healthy shine which would partially explain her tremendous lead as "Sophie" (well, that and the performance itself) and Karen Blixen's near top five placement, despite being hardly as memorable as Sophie or the other Streep/Karen. 

Weakest Showing: While Jessica Lange was an Oscar favorite in the 1980s, her JEWEL IVY in Country received 0 votes. But then Oscar's oft-derided "Year of the Farm Wives" fared terribly, with all three of the farm women failing to muster much enthusiasm. And to think they could have had Kathleen Turner's fiction writer Joan Wilder from Romancing the Stone in there. (She would've hit the top five most memorable characters, don'cha think?)

1986-1990

Dangerous Ladies ruled the Late Eighties

1. LT ELLEN RIPLEY (Sigourney Weaver) in Aliens
2. ALEX FORREST (Glenn Close) in Fatal Attraction
3. *ANNIE WILKES (Kathy Bates) in Misery
4. SUSIE DIAMOND (Michelle Pfeiffer) in The Fabulous Baker Boys
5. MARQUISE DE MERTEUIL (Glenn Close) in Dangerous Liaisons

Runners Up: Completing the top ten in descending order are Julia Robert's Pretty Woman VIVIAN WARD (who initially looked like a top three threat but kept fading throughout the course of voting), Cher's *LORETTA CASTORINI in Moonstruck, Streep's SUZANNE VALE (AKA CARRIE FISHER) in Postcards from the Edge, Anjelica Huston's hard as diamonds LILLY in The Grifters and in a tie for tenth place Holly Hunter's JANE CRAIG from Broadcast News and Jessica Tandy's *MISS DAISY the one who who drove right over the Pfeiffer/Oscar dream. Damn you, Oscar voters!

Observations: Looking back it looks like Meryl Streep owned the first half of the 1980s while Glenn Close threatened her dominance in the decade's second half. And to think they might go at it again this year?!? This poll was the most contentious of the six polls we've held with very small differences in rank between the winners and much in the way of surges and drops. A certain formidable alien fighting woman was always out front but Alex Forrest refused to be ignored and wouldn't allow her a huge lead. Spots 3 through 10 shifted repeatedly with my beloved Kathleen Turner's PEGGY SUE just missing the top ten. [Sniffle]

Fonda and Bridges in THE MORNING AFTER (1986)Weakest Showing: Jane Fonda's ALEX from The Morning After  (which Nick and I tried to recall on the "1986" podcast) received 0 votes from the nearly 800 cast. Of Fonda's seven nominations it's her last and (obviously) her least remembered. It's currently available on Netflix's Instant Watch. Sadly Sally Kirkland's ANNA only barely registered. Kirkland is best known to today's audiences as that crazy-dressing lady who sometimes shows up at the Oscars but that surprise nomination for 1987 was hard-earned. Don't believe me? Watch the movie on Netflix Instant Watch.

Should we do the 1970s?  
What do you make of these 80s polls? Did your fellow TFE readers choose well or would you like to stalk them with Alex Forrest's butcher knife, Ripley's flame-thrower or Annie's hobblin' hammer and right the wrongs they done?

DVDs. The greatest film I...

...almost never saw, or is it? Paolo here again. I'd normally be the first person to watch a movie that features attractive men wearing fedoras and Emily Blunt doing contemporary dance, but fate had other plans. But between The Adjustment Bureau's theatrical release and now, it was a movie that had a minor 'bucket list effect' on me. 

In one of its DVD extras 'Leaping through New York,' writer/director George Nolfi praises the city as an all around "magical place". But the film's visual version of New York is underwhelming and dour, since we mostly see colours like blue and grey and it seemingly takes place in perpetual dawn or autumn. That's how I felt the first time, although repeated viewings made me appreciate how the sunlight would hit on the upper half of the city's Metropolis-like art deco skyscrapers.

New York, as this film depicts is, makes its citizens feel anomic. We get this feeling specifically through the way the titular adjusters are depicted within the shots, as when four mid-level adjusters look out from a rooftop to countless windows in front of them. That image is essentially repeated when two adjusters Harry (Anthony Mackie) and Richardson (John Slattery) look out a window inside the bureau. A high angle long shot of the bureau's library before we see Harry thinking about one of his cases, David (Matt Damon) offers a similar feeling. The city is an overwhelmingly large frame for an internal and masculine struggle, as Harry becomes wary of how his job affects others. But maybe the film dwarfs the adjusters to highlight a part of their function, to have the least ripple effects, as invisible, microscopic, unnoticed.

David and his star crossed lover Elise (Blunt) are also lonely people without family...

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Box Office: Cowboys, Smurfs, Soldiers, Aliens, Beginners

Confession: I loved The Smurfs when I was young though I knew that they drew scorn from many corners. I would sing "la la laLALALA la la la la la" loudly whenever I wanted to annoy my older brother. That said, the movie looked a-tro-cious so I felt roughly zero in the way of nostalgic pull. I don't know how you cast talents as comedically strong as Hank Azaria and Neil Patrick Harris and then rely on fart jokes but apparently they did since "Who smurfed?" is supposed to be a joke therein. I was discussing this on Twitter last night with strangers lamenting that their kids liked it and Miyazaki would have to wait. I just returned from a vacation week with close friends and their children (including my goddaughter) and I'm happy to report that Miyazaki is well loved by the tween / early teen set. So there's hope for all disheartened parents of toddlers out there! Some of your children will grow out of their bad taste. Some of them won't and will grow up to rush to movies like Zookeeper wtih Kevin James on opening weekend. It's not the end of the world. It only feels like it to the devoted cinephile.

Weekend Showdown. Cowboys vs. Tiny Blue Aliens

box office top ten
01 COWBOYS AND ALIENS new $36.4
02 THE SMURFS new $35.6
03 CAPTAIN AMERICA: THE FIRST AVENGER [review] $25.5 (cumulative $117.4)
04 HARRY POTTER AND THE DEATHLY HALLOWS PART TWO [review] $21.9 (cum $318.5)
05 CRAZY STUPID LOVE [your take] new $19.1
06 FRIENDS WITH BENEFITS $9.2 (cum $38.1)
07 HORRIBLE BOSSES $7.1 (cum $96.2)
08 TRANSFORMERS: DARK OF THE MOON $6 (cum $338)
09 ZOOKEEPER $4.3 (cum $68.8)
10 CARS 2  $2.3 (cum $182.1)

Items of Note: HP 7.2 passed the difficult $300 million barrier domestically and the even rarer billion mark globally placing it at the #2 position for 2011 just behind #1s Transformers 3 (domestic) and Pirates of the Caribbean 4 (global). Given that "It All Ends!" has only been in release for two weeks, it'll easy defeat both of those films any day now. In ten days Captain America has earned about $116 here in its home country which means its already falling behind Thor despite a similar opening weekend draw. Thor was an even bigger hit across the Atlantic which doesn't seem likely for Cappy due to his homeland hero specificity. Cars 2 is running out of fuel, and may become the first Pixar release since A Bug's Life to fall short of $200 million domestically. Ah well, they'll always have their merchandising bonanza. Wasn't that the whole point of the sorry film to begin with?

poll by twiigs.com

other films we thought we'd check in on...
18 SARAH'S KEY $.3 (cum. $.5)
20 THE TREE OF LIFE [overheard / thoughts] $.3 (cum. $11.6)
25 BEGINNERS [review]  $.2 (cum. $5)
39 THE DEVIL'S DOUBLE new $.09
53 THE FUTURE new $.02 

Sarah's Key a Holocaust drama starring TFE favorite Kristin Scott Thomas has been surprisingly robust with ticket sales thus far at only 33 theaters. Should we have been considering this one long ago?

I included The Devil's Double and The Future because I missed critics screenings but I'm totally curious about both (would love to hear your thoughts if you've seen them). Plus, we hadn't checked in on the lower ranks of the charts in some time. Terrence Malick's The Tree of Life, keeps puttering along in arthouses (widest release peaked at 237 theaters) and it might even eventually gross as much as the first two days of Zookeeper (!) which, as one friend soberly notes, '...is why we can't have nice things.'

'Sarah's Key' and 'Beginners' are arthouse hits

Beginners has been a small and sturdy arthouse attraction itself, roughly akin to Winter's Bone at this point in its life (2 months) in terms of both gross and theater count. But can a 5 million grosser summon up enough energy to grow legs and stride through the often brutal precursor awards season without, one presumes, a lead performance and director with similar awards hopeful traction? Do you think Christopher Plummer has a good shot still or did the film need to catch on with more fervor for what might be a lone supporting bid?