Reader of the Day: Hayden

Sometimes when I'm reading the comments, at least for the frequent chatterboxes, I start to get a sense of which directors and actors some of you like. Other times it's hard to tell. With Hayden I knew in the subcategory of Warren Beatty Paramours we disagreed on Annette Bening and were sympatico on Julie Christie. So let's learn more in today's reader of the day.

Nathaniel: Do you remember your first moviegoing experience? first obsession?
HAYDEN: The first time I went to the movies was to see The Lion King, which fits because Elton John was my first concert. I was all of three years old in 1994, so I remember leaving early for crying or misbehaving or something. As for an obsession, I really got hooked on Woody Allen during my sophomore year of high school. There were dozens of his classics and lesser films OnDemand so I probably powered through thirty of them in one year.

You were three in 94?! [cough. *pauses to take some Geritol*]. When did you start reading the Film Experience?
2004 was the first year I actively followed the Oscars, and I first came here for the charts. I would say that I stayed when I realized that TFE blog was so fun to read, too. I think before you can enter the dialogue on the Oscar blogosphere, you need a semi-comprehensive sense of Oscar mythology. So I spent some time catching up on history before I started participating.

That's actually astute. There is a learning curve or at least a gateway year to sensible Oscar obsessiveness. Not that Oscar is a sensible state of being exactly! But moving on. Let us not speak of your bizarre hostility to The Bening. Your favorite 3 actresses?
Julianne Moore, Julie Christie, Vanessa Redgrave. And I’m not hostile towards the Bening so much as I think she gets slightly more credit than is due, in a sea of actresses who aren’t even close to getting the praise they deserve.

[short e-pause] I also want to add Blythe Danner to my "favorite actresses" thing. 'Cause she's so absurdly underrated.

Take away somebody's Oscar and give it to someone else. What year? who? why?
Well, I don’t want to pick on Driving Miss Daisy's Jessica Tandy, so I’ll just give Helen Hunt’s As Good As it Gets win to Julie Christie (Afterglow). Julie won so early in her career and has been ripe for a second win so many times. And I have a much easier time accepting (and embracing) wins like Marion Cotillard’s in La Vie En Rose and Jane Fonda’s for Klute than I do Hunt’s. (But seriously, Pfeiffer's The Fabulous Baker Boys was a Crowning Best Actress Moment if ever one existed.)

[Editor's note: I swear I did not pay Hayden to say that but all Pfans agree and thank him.]

Which newish directors are you rooting for in the coming decade?
I’ve been dying to see how Jonathan Glazer follows up Birth. If that wasn’t a fluke, he’ll be one of my favorite directors. I’m also dying for more direction from Sarah Polley.

previous readers of the day: Dominique, Murtada, Cory, Walter,  Paolo, Leehee and BBats

"Erotic Vagrancy"

As only La Liz can do it (on the set of Suddenly Last Summer.)

It was the Vatican that coined that infamous phrase about Elizabeth Taylor 'descending into erotic vagrancy' around the extended time of her leisurely multiple year abandon with Richard Burton during the Cleopatra years. That movie was filming forever and when it began the public was still reeling from the Reynolds /Fisher /Liz triangle. The "insult" was published in the Vatican Newspaper but online searches have only found numerous references to it but no images (was it a front page headline befitting the Giant-ess?) and I'd love to read the whole text, wouldn't you?

But my-oh-my... it's almost like Taylor's estate should thank the Vatican, because it's such a wonderful compliment for an Iconic Screen Siren and it stuck. People, not just me, still reference it 50 years later!

Which brings us (sort of) to today's 'Taylor Tribute of Note' from Tim Robey in The Telegraph on her defining big screen image.

If there’s an archetypal Taylor scene we could focus on, it’s the image of her sprawling in bed. One suspects she felt most comfortable acting when not having to stand, since most of her key roles furnish ample excuse to take to a four-poster, a sofa or a chaise-longue in a pose of either seduction, wailing decrepitude, or occasionally both.

Wonderful piece, a must read.

First and Last

the first and last images from motion pictures. How've you been doing this season?

Can you guess the movie?

 answer is after the jump.

Click to read more ...

Best Shot: "A Streetcar Named Desire"

Hit Me With Your Best Shot continues with A Streetcar Named Desire (1951). This week's film was chosen in light of the Tennessee Williams Centennial, the great writer's 100th anniversary is this weekend. If this is your first "best shot," partipicants are asked to watch a film, and select its best shot (or their favorite, natch) and post it, with or without an accompanying essay.

Stanley: Yknow there are some men that are took in by this Hollywood glamour stuff and some men that just aren't.
Blanche: I'm sure you belong in the second category.
Stanley: That's right.
Blanche: I cannot imagine any witch of a woman casting a spell over you.
Stanley: That's right.

Elia Kazan's masterful adaptation of Tennessee Williams happens to be, by a significant margin, the best film version of any of his work. It moves more elegantly around Hollywood's censorship of then risque material than the other biggies that followed (Cat on a Hot Tin Roof, Suddenly Last Summer and Sweet Birth of Youth) and it's managed to be more definitive than any film version of the other play vying for most immortal Tennesse Williams Creation (The Glass Menagerie). The 1951 film will forever be revered, and justifiably so, for providing an irreducibly perfect 'moment in time' look at the shifting of Hollywood acting; the friction between pre-50s artifice in Vivien Leigh and Blanche DuBois and post-50s "realness" in Brando's "Method" Stanley is still absolutely sensational 60 years on. As are both approaches to acting, I might add as a fine point (provided the actor is a skilled one). Too often we view all sweeping artistic shifts as progress when they are more often than not, merely lateral aesthetic shifts, opening up new pleasures but not truly replacing the old ones. Time marches on; we explore new things.

In the understandably immortal hoopla surrounding two of the greatest screen performances of all time, we often lose sight of other pleasures. A Streetcar Named Desire has many of them from Tennessee William's indestructable poetry to Elia Kazan's assured guiding hand to the Oscar-winning art direction and the expressive shadowy lighting from Harry Stradling Sr. Stradling manages effects that are both harsh and ethereal, both ugly and beautiful, but not always in the combinations you'd expect them to be and sometimes both at ones. His camera and lights perfectly bridge all of the performances, moods and characters.

But the way he lights Stella (an inspired Kim Hunter) has always fascinated me. In her scenes with Blanche, the shadows often obscure one or the other of her faces and in those scenes which highlight the mad desire for Stanley her eyes are often obscured, with only tiny sparks of light flashing and reflecting from them.

Stella: Isn't he wonderful looking?

Blanche: What you're talking about is desire, just brutal Desire. The name of that rattletrap streetcar that bangs through the Quarter, up one old narrow street and down another.
Stella: Haven't you ever ridden on that streetcar?

Stella seems unknowable, feral, as dangerous in her own singlemindedness as Blanche is in her self-deception and Stanley is in his brutality. Her eyes have an animalistic defiant glint but it's not just her irises; this is one of the horniest performances ever captured on film.

This shot in particular is just fascinating, pulling the central triangular drama into sharp (deep) focus.

My pick for best shot.

The sisters have been having a serious chat. The previous night's tumult involving poker, flirtations, drunken messiness, abuse, "Stelllllaaaaaaaaaaaa!!!!" and an obvious offscreen fuck-a-thon between Mr & Mrs Kowalski have disrupted their bond. If they're not quite seeing eye to eye the sisters are beginning to really listen to each other until they hear Stanley's return. We see his shadow first on the left side as then his body as the women immediately stop talking.  For the next agonizing few seconds, they seem absolutely frozen with indecision, though there's a curious sapphic charge to Blanche's silenced pawing pleas. There's another "Stella", Stanley's foolproof siren call, from the background and then Stella, ever so slightly turns his way, catching the light, his light if you want to get figurative though not literal.

She's lost to Blanche and herself again. Though Stella ends the movie an hour and some minutes later swearing Stanley off forever, our guess is she hops right back on that rattletrap streetcar named Desire once the credits roll. She's up one old narrow street and down another with Stanley as her violent conductor.

The Kindness of Strangers
Enjoy these participating posts at other fine movie-loving blogs.

• Film Actually ~ Blanche DuBois as a delusional "orchard in spring."
• Encore's World ~ emerges from the fog to find a Tale of Two Sisters
• Serious Film ~ Experiencing "Bleed Through": Meet Scarlett DuBois. Or is it Blanche O'Hara?
• Victim of the Time ~Barebones, a Streetcar Named Desolate Desire.
• Cinephilia & Sass ~ The Haunting of Blanche and the cameras relationship to her in general.
• Movies Kick Ass ~ Takes a personal trip to illusion in New Orleans.
• Pussy Goes Grrr ~ Peers voyeuristically at 'The Curiousity of Strangers'
• Against the Hype ~ Must Blanche fend for herself in the grim mise-en-scène. Another wonderfully provocative piece from Against the Hype.
• Okinawa Assault ~ "the frills and frenetics" of a silent movie!
• Dial P For Popcorn ~ examines the triangle and Stella as mediator.
• Musicinephiles ~ on Blanche & booze. So much for the one drink limit.
• Luisergho ~ hands us a series of image and shouts along with Brando
• The Owls Are Not What They Seem ~ Blanche splintered, defeated.

Next Wednesday
Alfred Hitchcock's PSYCHO (1960) in celebration of the release of a stunning debut novel "What You See In The Dark" by Manuel Muñoz which brushes up against this movie in interesting ways. Coming soon: an interview with the author and a book giveaway. But about BEST SHOT: It's impossible that everyone will love the shower scene best, right? Why don't you join us and try to pinpoint your favorite image? Next Wednesday at 10 PM right here... and at your place if you participate.

A "Cool Rider" Never Forgets

Don't know if you Pfans out there caught PopWrap's interview with Maxwell Caulfield of Grease 2 fame. He's doing Cactus Flower on stage now (yep the property that won Goldie Hawn that early Oscar -- though I personally didn't realize that Adam Sandler's Just Go With It was a reworking???) so he's making the press rounds. He's still an extremely handsome bloke at 51. I've noticed him billed on a couple of stage things here in New York over the years but haven't managed to catch him doing his thing.

PopWrap asks him about Grease 2 (1982) of course and I love his humble appreciative response despite the film career never really working out.

PW: Do you remember it fondly? 
Maxwell: I haven’t hit enough home runs in the film world to say, “oh yea, ‘Grease 2,’ isn’t that a cute movie?” For me, it is a very major part of my filmography. I still have my great friends from the experience and when it pops up on TV, I stick with it – it brings back so many happy memories.

PW: It was filmed almost 30 years ago and some actors can't remember projects they made 3 years ago -- do you recall shooting it? 
Maxwell: Oh yes! You’re never going to forget a liplock with Michelle Pfeiffer! [laughs] I remember being in the bowling alley and the school. I have very distinct memories from making that movie ... But I do look at it and think, “damn, why didn’t they give me a second picture?” [laughs]  But them is the breaks.

He's never forgotten his liplock with Michelle Pfeiffer? Well neither have we.

Yum!