Lana Turner. Because movie stars need love, too.

We've been celebrating 1957 these past few weeks. Please welcome our new contributor Baby Clyde...

Lana turner in "Peyton Place" and the closest she came to Oscar - presenting Red Buttons with his that same year

After nearly two decades as a topflight Hollywood star Lana Turner finally grabbed Oscar’s attention for her performance as the uptight mother Constance Mackenzie in the smash hit 1957 soap opera Peyton Place. It was to be their only serious encounter. Nobody argues that Lana was a great actress but by god was she a great Movie Star. Maybe the greatest of all in my estimation. There is no one in film history who ticks so many boxes or encapsulates so many Hollywood tropes and clichés. 

Young Judy Turner went to Hollywood High School before literally being discovered at a soda counter by the editor of the Hollywood Reporter at age 16 (See how many times I’ve used the word ‘Hollywood’ already).  Now named ‘Lana’ she made one of the most iconic debuts in movie history as the ill-fated murder victim in They Won’t Forget (1937) and was dubbed "The Sweater Girl" for the way her ample charms filled out said item of clothing...

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Halfway Mark Links

A Must Read
• Tom & Lorenzo "One Iconic Costume" a fascinating funny and poignant piece on Dorothy Gale in The Wizard of Oz

More Links
• Paper terrific piece on the new generation of queer comedy: Matt Rogers, Grace Kuhlenschmidt, Alex English, Cole Escola, and many more. 
• Cartoon Brew despite Academy efforts toward gender parity the animation and visual fx industries are still struggling with inclusion of women. (Only 1 in 8 people invited to join the visual effects Academy branch are women this year.)

More after the jump including Hamilton, Netflix hit 365 Days, best of the first haf of the year and more...

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Aussie Cinema Spotlight: 'Relic' and 'Babyteeth'

By Glenn Dunks

Did you see Letterboxd’s highest-rated film list for the first half of 2020? The film database site used by cinephile types to log and rate everything they see noted that this time last year the comparative 2019 list was topped by Avengers: End Game, none other than the highest-grossing movie of all time. This year’s top title on a newly lockdown affected list? Kleber Mendonça Filho and Juliano Dornelles’ Bacurau! Quite a change of pace to intergalactic superheroes, you have to admit. And followed by titles like And Then We Danced, Corpus Christi, First Cow and Vitalina Varela? As the kids say, you love to see it.

As audiences cannot rely on a regular stream of American content to plug into their necessary expanded viewing schedules, it is encouraging to consider that some people’s eyes may have been newly opened. I thought of this when watching two new Australian releases: Natalie Erika James’ haunting generational horror Relic, and Shannon Murphy’s perversely entertaining cancer drama Babyteeth...

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Would you rather?

We haven't played our dumb instagram game in a while. So here are celeb pics we felt the need to share (*sharing is not endorsement). Would you rather...?

• barbecue with Yahya Abdul-Mateen II?
• take allergy teests with Mark Wahlberg?
• receive flowers with Nicole Kidman?
• have a comfort food moment with Pierre Png?
• play with Jai Courtney's puppy?
• spend hammock time (in the 50s) with Natalie Wood?
• find positive energy with Cynthia Erivo?
• cosplay woodland creatures with Amanda Seinfried
• make Alec Baldwin mow your lawn?
• snake charming with Elle Fanning?
• dance on a mini-tramp with Goldie Hawn?
• pretend you're at a private nightclub with Kate Beckinsale?

Pictures are after the jump to help you decide. 

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Bergman in '57

by Cláudio Alves

Ingmar Bergman is my favorite filmmaker of all-time. That being said, I'm aware of the difficult reputation his cinema has earned over the decades. As Nick Taylor wrote in his fabulous piece about Harriet Andersson, few directors have so masterfully captured the overwhelming pain of unhappiness as Ingmar Bergman did. In his films, God is either dead or a giant stony-faced spider, a monster intent on causing suffering to everyone, making for a cinematic cosmos where agony is the most universal experience of all. It's heavy stuff which justly earns the fame of depressing art, though I'd argue that there's more to Bergman's cinema than constant unbearable ache.

Just look at his 1957 masterpieces, The Seventh Seal and Wild Strawberries…

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