The New Classics: Nightcrawler

About once a decade we get a film set in the world of television that serves not just as a satire but a warning, asking us to take a look at the glaring problems in the way Americans get their information. Titles like A Face in the Crowd (1957), Network (1976), and Broadcast News (1987). It’s clear to me that that the film to take up this mantle for this last decade was Dan Gilroy’s Nightcrawler (2014). 

The trend in these stories does not inspire optimism. If the 2010’s spat up Jake Gyllenhaal’s Lou Bloom to represent it, am I ever terrified to meet the standard-bearer for the 2020’s... 

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Almost There: Cary Grant in "The Bishop's Wife"

by Cláudio Alves

Movie stars are not like us. Most people look perfectly banal when observed through camera lenses, but the stars are ravishing. When one appears, all eyes go to them, as if their mere presence is a gravitational hold. They are glamourous and awe-inspiring, terminally charming, and even more alluring. Idealized beyond humanity, those icons of the silver screen are the green light for which Jay Gatsby reached.

No matter the other sins of Old Hollywood, they were an exemplary movie star factory. The studios often knew just how to showcase the great stars to maximize their appeal. Or at least the finished product often suggests so. For a fascinating example of all of this look no further than Cary Grant in the 1947 Best Picture-nominee The Bishop's Wife…

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Linkmaids

• Variety The Venice Film Festival will commence (not cancelling) on September 2nd
• IndieWire does some myth-busting by looking back at an historic movie weekend in 1977, when both Smokey and the Bandit and Star Wars opened
• Variety on how Carole Lombard becamse the first Hollywood casualty of WW II

After the jump including the first drag queen Emmy nominee, fight challenge, Michel Piccoli RIP, no Bridesmaids sequel, trivia and Brokeback reminiscences with Oscar pundits, Diva, and more... 

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Tweetweek. What week even is it?

After the jump more tiny beauties that make you laugh, think, smile, or nod vigorously...

It is our time, finally. https://t.co/zp618qGDJy

— Tilda Swinton (@NotTildaSwinton) May 24, 2020

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Loretta vs. Roz: A Surprise Best Actress Win

Please welcome first time contributor Baby Clyde, weighing in on 1947, the year we're celebrating this week... 

Rosalind & Loretta, friends and Best Actress rivalsSuch a forgone conclusion was the result of the final award at the 20th Academy Awards, that the audience at the back of the Shrine Auditorium had already started filing out as Frederic March rose to announce the Best Actress winner. They soon stopped in their tracks as a huge gasp swept around the room. No one was more surprised than the previous year’s Best Actor champ who is said to have started reading the name of the expected winner, Rosalind Russell for Mourning Becomes Electra, before stopping and declaring that the awards was, in fact, going to rank outsider Loretta Young for the comedic trifle The Farmers Daughter. The next day noted gossip columnist Hedda Hopper, sitting directly behind her, reported that Russell had already started rising from her seat when Young’s name was called, but styled it out beautifully to lead a standing ovation for her good friend...

Loretta swept up to the stage with all the poise and elegance for which she was famous, wearing a voluminous green gown that would still cause a sensation on any red carpet today...

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