Round 7 for Penelope & Pedro with "Parallel Mothers"

by Nathaniel R

Given the elegaic tone of Pedro Almodóvar's brilliant autobiographical Pain & Glory (2019) we worried that it might be his last film. We're so pleased to be feeling paranoid about that now. The 70 year-old master is already writing again or perhaps has finished writing something new. And not just one new project, but three! His next feature (which will shoot in early 2021) is a melodrama called Parallel Mothers, which will star his muse Penélope Cruz. The film will follow the lives of two mothers who give birth on the same day but whose lives take different courses (no word yet on who will play the other mother or if this is a dual role for Cruz). This will be the director and actress's seventh collaboration...

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1957: Cathleen Nesbitt in "An Affair to Remember"

Before each Smackdown, we look at alternate possibilities to the actual Oscar ballot...

by Nick Taylor

Camila Henriques wrote a great article last week on Deborah Kerr’s performance in An Affair to Remember, a film whose cultural resonance feels like a tribute to the star power of its lead couple. A remake of the romantic drama Love Affair (1939) from its original director Leo McCarey, the film follows wealthy socialites Terry McKay (Deborah Kerr) and Nick Ferrante (Cary Grant), who fall in love over the course of an eight-day transatlantic cruise to New York despite being engaged to other people. The relaxed pacing, resplendent colors, high production values, picturesque photography, and appealing slow-burn chemistry between Kerr and Grant reads like an open invitation from McCarey to luxuriate in the sheer handsomeness of what he’s put together. The economy of Love Affair is missed, though for my money the film’s besottedness with itself keeps An Affair to Remember from fully matching the emotional complexity of its predecessor. Especially in the early going, McCarey seems content to let his leads luxuriate in their own charisma without asking them to do all that much. But nonetheless the film is able to evince real moments of depth that linger long after the credits have rolled. And wouldn’t you know that the first such moment arrives when Terry and Nick make a surprise visit to his Grandmother Janou, played in this iteration by Cathleen Nesbitt. 

In both films, Terry and Nick’s time with Janou is the catalyzing event that leads them to acknowledge their love for each other...

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Alec Guinness: Performing obsession

by Cláudio Alves

David Lean's film career is a rather peculiar thing. Before he ever sat on the director's chair, Lean was an editor whose resumé included collaborations with such lofty names of British cinema as Powell and Pressburger. It was during World War II that he started working as a director, adapting several Noël Coward plays and Charles Dickens novels. His early work was a cinema of über-Britishness, one that both celebrated, ravaged, and autopsied the idea of what it was to be British, taking an especially hard look at the effects of the war on society. 

It's strange to consider that this master of the chamber drama, a director of modest style, would go on to become synonymous with the sprawling epics of the 1960s. Apart from some missteps, he'd be as wonderful doing these monstrously big movies as he was doing the small ones, but there's a clear dissonance of approach fragmenting the man's filmography. If there's a transitional piece to be found, a stylistic and thematic bridge, that explains how the humble adapter of prestige literature became the epic maker, it's 1957's The Bridge on the River Kwai… 

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Horror Actressing: Isabelle Adjani in "Possession" (1981)

by Jason Adams

The dissolution of a marriage rendered palpable, ectoplasmic -- Andrzej Zulawski’s 1981 cult freak-out slash Cannes winner Possession was birthed mid-divorce from the director, and the labor pains are writ like arterial sprays across its every frame. It's Bergman via Jodorowsky; Scenes From a Marriage on a severe acid trip. The screen's awash in Evil Dead amounts of gunk, puss, a sparkling rainbow of ejaculatory fluids -- several squishy mattresses and one murder scene contingent on barfing later his star Isabelle Adjani takes to the hallway of a West Berlin subway station and acts so much that her insides literally come spilling out of her ears. 

Possession is, it must be said, a lot...

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