Yes No Maybe So: Ma Rainey's Black Bottom

by Nathaniel R

Chadwick heading for a posthumous Oscar nod?

How about them songs I give you?

Netflix is trying the shotgun approach this year by releasing one buzzy potential Oscar contender after another. Perhaps they felt emboldened by landing two (The Irishman, Marriage Story) of the nine Best Picture nods last year and coming close to a third with The Two Popes.  Of course no studio ever has only hits but they've already released Da 5 Bloods, i'm Thinking of Ending Things, The Boys in the Band, and Da 5 Bloods and still to come are The Prom, The Life Ahead, Pieces of a Woman, The Midnight Sky, Hillbilly Elegy, and tonight's topic: Ma Rainey's Black Bottom so they'll probably do well this year with an overall nomination tally. How many actual Best Picture contenders is a more difficult question.

About Ma Rainey...

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Which film will be Germany's Oscar submission?

Germany will reportedly decide between these ten films for their Oscar submission this year which they'll announce near the end of this month. If you've seen any of these pictures, do share your opinion!

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Monty @ 100: The recent documentary "Making Montgomery Clift"

by Sean Donovan

As a kind of epilogue to our Montgomery Clift Centennial series, in which we revisited every film of his, let's discuss a curio that made the festival rounds in 2018 and 2019. The documentary Making Montgomery Clift was co-directed by Hillary Demmon and Monty’s nephew Robert Clift. Robert is very much foregrounded as a protagonist of the film as he attempts to do much of what the Film Experience team has been attempting over the past two and half weeks: to grapple with the legacy of Montgomery Clift and bask in the immortal work he has left behind. Making Montgomery Clift is an imperfect project, and those imperfections arise out of an enormous emotional attachment to the subject that can’t hep but obscure our view of the man and his work.

Making Montgomery Clift provides an overview of the star’s life and career trajectory, the highlights and lowlights that have been gestured to in posts throughout this series: Clift’s struggles with alcohol and pills, his queer sexuality, the traumatic car accident that transformed his career, his reputation as a difficult diva of a movie star, etc. But the film also does the invaluable work of tracing the discourse of our pop culture knowledge of Clift himself: when and how the legend of Monty Clift was written...

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AFI Fest: New Order

By Abe Friedtanzer

 

It’s not often that I truly regret watching a movie. The rare occasions on which it does happen make me question my policy of reading as little as possible about a film before I see it. I might have, for instance, read these important disclaimers from Elisa’s brief rave review of Venice Film Festival Silver Lion Grand Jury Prize winner New Order: “it feels like your hope for the future of humanity is being beaten to death” and “‘Chilling’ does not even begin to describe the act of witnessing this story play out. Do not get attached to any of the characters.” I agree fully with those warnings and would add a few of my own when it comes to breaking down this brutal film…

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Chi Film Fest: "Charlatan" an Oscar Submission

Coverage from the 56th annual Chicago Film Festival running October 14 - 25. 

by Nick Taylor

It takes a while for Charlatan, the newest film by Agnieszka Holland and the Czech Republic’s Oscar submission for Best International Feature this year, to get its feet under itself. The semi-fictionalized story of renowned Czech herbalist and healer Jan Mikolášek (played by Ivan Trojan for most of the film and by Josef Trojan, his son, as a young man), Charlatan opens with the death of president Antonín Zápotocký in 1957. With his biggest political ally and former patient gone, Mikolášek is warned to flee the Czech Republic before he's arrested by the Communist party. He refuses, either because he’s too bullishly stubborn or too self-flagellating, and is soon arraigned with his assistant František Palko (Juraj Loj) on death penalty-level charges that his lawyer proves are a sham with little investigation. The party doesn’t if the case is strong, or even real, as long as he’s executed. 

The film jumps between this scenario and following Mikolášek’s beginnings as a soldier in World War I, his training with a local herbalist named Mülbacherová (Jaroslava Pokorná), and the formation of his practice with František. Charlatan delineating these timelines with a color tint heavy enough to satisfy anyone who found the dual threads in Little Women difficult to track...

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