Reader of the Day: Yonatan

We're wrapping up Reader Appreciation Month but so many people seem to be enjoying "reader of the day" that we'll keep doing them... just not every single day. Stay tuned...

I thought we'd close the month with Yonatan (you can call him "Jonathan") from Israel. Why? Well because he had a job a couple of years back that I think all of you (not to mention me) would be jealous of: talking about the movies on TV! Sweet.

He started reading The Film Experience due to the foreign film Oscar pages and he was one of many readers who started sending me regular info on their home country so I could keep up the pages. Yonatan and I share a love of really insignificant trivia. For instance, he recently wondered aloud by e-mail if Kathryn Bigelow's Strange Days (1995) and Jane Campion's Portrait of a Lady were the longest English language films directed by women... I countered with An Angel at My Table, also by Jane Campion, at 158 minutes but he argues that what conceived as a miniseries so it shouldn't count. Referee!?

Nathaniel: Do you remember your first moviegoing experience?
YONATAN: I'm sure I've been to a movie theater before this, but the first movie I remember being taken to see was The Journey of Natty Gann, a few months before my sixth birthday! A few months later my mother let me stay up late two nights in a row to watch the 1985 star studded mini-series "Alice in Wonderland". I had no idea at the time who those "stars" were, but I had to see it!

What's your moviegoing diet like right about now?
Three years ago I got the chance to have a weekly live movie review segment on TV. Unfortunately, I don't appear on TV anymore, but I do write reviews (in Hebrew, at edb.co.il), and attend 2-5 advanced screenings a week. On slow weeks, I also watch movies at home, bringing me to a healthy average of 200 movies a year (not including movies I watch again just for fun).

[Here's Yonatan talking about WALL•E. I couldn't understand a word but I'm certain he is saying adorable things.]

 
Your 3 Favorite Actresses. Go!
Diane Keaton, Meryl Streep. Can I say Cate Winslet and Kate Blanchett to count them as one?

Elkabetz photographed by Jérome Bonnet I haven't seen a movie with Parker Posey in years, so she's been demoted. And let me just slip in Jodie Foster, Debra Winger, Jane Fonda, Gong Li, Carole Lombard, and everybody in the world should know the Israeli actress Ronit Elkabetz.

Ohmygod. She was brilliant in Late Marriage. I need to see her in other things.

Okay... They make a movie of your life. Tell us about it.
I like my life but it's pretty boring from the side and I wouldn't want to see that movie; you'll have to wait for the movie I wrote which is in early stages of development.

What's one movie you always recommend to people?
A movie that tops my list of recommendations is The Big Chill (1983). It's just perfect. The cast, the soundtrack, the dialog. It's touching and it has humor- so many great lines! Every scene ends with a punchline.

all reader of the day posts: Yonatan, Keir, Kyle, Jamie, Vinci, Victor, Bill, Hayden, Dominique, Murtada, Cory, Walter, Paolo, Leehee and BBats

Gotta Rant! Men (and Women) in Tights.

Gotta Sing....
A few days ago I read over at A Socialite's Life that Hugh Jackman is talking to Bollywood producers about work. You know... I like Bollywood just fine, sometimes quite a lot more than that, and I don't mean this as a slight but Hollywood is a crappy crappy please if one of its biggest stars has to actually leave our movie industry for another to show off his skillset. Grrrr. And, also: grrrl. (I'm fuming). I guess Hollywood only wants him to Wolverine but he has so much more in him.

Where is his big screen musical? If ever a modern male star could be a big deal singing and dancing on the screen it's him. He was amazement in The Boy From Oz on Broadway and he was thisbig. I saw him from the last row of the house with my head touching the wall in the far left corner (truth), the worst seat I've ever had for a show, and I was totally mesmerized. I think seeing him blown up on the big screen doing that same thing might kill me. But I'd die happy.

Amy Adams is another huge bankable star whose musical talent is in danger of being wasted. Lois Lane? Really? A role that any feisty actress could do in her sleep and also another "girlfriend" part to the true star. You'd think after hit movies and multiple Oscar nominations, she could get another good leading role.

The only way I want to see Amy Adams, who is so dynamite in comedy (Enchanted) and dramedy (Junebug) and in the right dramatic role (The Fighter), in a superhero movie is if she's the superhero.

The rest of the negativity must be confined to the jump. Click ahead for more on superheroes, Batman's eventual reboot and that weary-limbed Natalie Portman dancing controversy.

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First and Last

the first and last images from motion pictures...

the first image.

the last image would give it a way so let's use the last line of dialogue.

I'm in your bleedin' class next term.

Can you guess the movie?

the answer is after the jump.

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Hit Me With Your Best Shot: "PSYCHO"

In this weekly series "Hit Me With Your Best Shot", we look at a pre-determined movie and select what we think is the best (or at least our favorite) shot. 

 Let's stare this down right away.

The best shot in Alfred Hitchcock's immortal Psycho (1960) comes from arguably the most famous single scene in cinema's 100+ year history. It's that devastating slow clockwise turn (mirroring blood swirling down the drain) paired with a slow zoom out. Marion Crane is dead or thereabouts. Dying in the shower allows her final posthumous tears.

In what is arguably Hitchcock's most brilliant decision in a film filled with them, this moment turns the movie's fabled voyeurism (and explicit understanding of cinema's very nature) back at the audience. We've been staring at Marion Crane, foolish bird-like Marion, for 49 minutes watching her squirm in her "private trap". We couldn't (didn't want to?) save her. Now it's her turn to stare back.

How much death does the cinema need?
[read full post and participating blogs]

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Unsung Heroes: Alec Baldwin in 'The Royal Tenenbaums'

Michael C. here from Serious Film for this week’s episode of Unsung Heroes. When Nathaniel first contacted me about a weekly column I remember him encouraging his contributors to delve into their cinematic obsessions. Well, in that spirit, my cinematic obsessions don’t get any more obsessive than my love for this film. I give you The Royal Tenenbaums.

Alec Baldwin’s vocal performance as the Narrator in Wes Anderson’s The Royal Tenebaums is one of those things that makes a film lover like myself shake his head and smile, it is just so damned perfect. It is a casting decision that can appear random on paper, but which becomes instantly indelible as soon as it's heard. Of course pretty much every choice in Tenenbaums is dead on – from the Dalmatian mice to the briefly glimpsed posters for Margot’s plays - but this choice has always stood out to me as particularly inspired.

For one thing, this was well before Baldwin was racking up the awards as Jack Donaghy so Wes’s casting of him as the voice of his film was quite the out-of-the-box choice. He has a fantastic voice, but it doesn’t have that storybook quality that you normally associate with narrators. It lacks that soothing gentleness that voices like Morgan Freeman's or Roscoe Lee Brown's (Babe’s narrator) have in spades. Baldwin recounts the story of the Tenenbaums in perfectly neutral tones but still manages to slip the smallest edge into his delivery. An almost imperceptible spin that would have been lacking in another narrator. When, for example, Royal declares that the recent days with his family were probably the happiest of his life, Baldwin is able to deliver the line,

Immediately after making the statement, Royal realized that it was true.

in a way that is somehow both without inflection and overwhelmingly sad. Come to think of it, Baldwin’s flat delivery which comes freighted with heavy emotional baggage is the perfect aural equivalent for Wes’s visual style.

One of the most pleasant surprises of the past decade or so was watching the metamorphosis of Alec Baldwin from straight-forward leading man to the invaluable character actor who pops up in Scorsese movies and steals every scene not nailed down. As an action hero he was good, but as a supporting player he is priceless. His memorably subtle work as the narrator in Tenenbaums is actually a pretty accurate demarcation line between the two phases of Baldwin’s career. It was around that time that he let go of his matinee idol looks and relied instead on his flawless comic timing and apparently bottomless supply of priceless line readings. I would love to see Baldwin go all the way and appear on screen in an Anderson film. His dead pan could go stone face to stone face with any in Wes's stock company.

It is often said that there are so many obstacles to getting a film made, so many opportunities for things to go wrong, that it’s a wonder any films get made at all. When a film arrives that is not just good but is an example of every detail going exactly right it is borderline miraculous. The Royal Tenenbaums is in my view such a film, which is doubly amazing because I can think of no film more richly detailed than The Royal Tenenbaums.