Judy Holliday @ 100: The Oscar Winner's Fascinating Career

by Brent Calderwood

I’m just going to say it. I’m glad Judy Holliday won the Best Actress Oscar for the 1950 comedy Born Yesterday. I’m not saying she should have won—I’m not even saying I would have voted for her if I’d been a member of the Academy. But if I could have been there when the winner was announced on March 29, 1951, I would have been cheering the loudest.

Today—100 years after Holliday’s birth and 56 years and two weeks after her untimely death—Holliday’s Sea Biscuit victory over frontrunners Bette Davis for All About Eve and Gloria Swanson for Sunset Boulevard is still a topic of discussion and debate...

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The many versions of "Anna and the King of Siam"

by Cláudio Alves

Seventy-five years ago, Anna and the King of Siam premiered in theaters. The film was adapted from a book by the same name, which purported to present a fictionalized, yet historically-based, account of the years spent by Anna Leonowens in the court of King Mongkut of Siam - present-day Thailand - in the 1860s. Novelist Margaret Landon based her work on Leonowens' memoirs, creating a window into an otherworld that dazzled readers and moviegoers of the 1940s. Over the years, the story's popularity persisted, and it has been retold in several different mediums. On the anniversary of its first cinematic adaptation, let's look at the four movie versions from the Oscar-winning costume drama to a forgotten animated catastrophe…

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Blue @ 50: Joni Mitchell's Music in Film

by Brent Calderwood

The Kids Are All Right (2010)

“Songs are like tattoos.” That’s according to “Blue,” the title track on Joni Mitchell’s fourth album, which turns 50 this month. A half century after Mitchell wrote and recorded those words, it’s clear that Blue has made an indelible mark on the culture. Songwriters from Bob Dylan (“Tangled Up in Blue”) to Prince (“So Blue”) to Taylor Swift (Red) have acknowledged the influence of Blue’s achingly autobiographical lyrics on their own work. Just last year, Rolling Stone declared Blue the third greatest album of all time. And thanks to scores of cover versions over five decades, two of Blue’s torchiest tracks—“A Case of You” and “River”—have become American Songbook standards. 

No wonder, then, that filmmakers have frequently tapped into Blue, especially for their characters’ most vulnerable moments. While plenty of ink has been spilled over who the songs on Blue are about (James Taylor, Graham Nash, Leonard Cohen), screenwriters and directors often look deeper, mining the songs for what they are about: love, desire, loss, travel, California, Christmas, and much more. 

In honor of the classic album's 50th anniversary, here’s a look at the Top 5 times that songs from Blue appeared in movies… 

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Happy 25th to Tom Holland

Happy quarter century today to your friendly neighborhood Spider-Man, Tom Holland. What do you suppose the next five years of his career holds? It seems like his management is trying to capitalize on the franchise money while also squeezing in indies and voice work to diversify a bit? But while trying to do both at once perhaps they aren't being picky enough about anything. All of his recent projects (Cherry, Chaos Walking, The Devil All The Time, Spies in Disguise, Dolittle, Onward) haven't exactly been bullseyes, either with audiences or critics, and all were fast-fades. Next up: another Spider-Man and the video game adaptation Uncharted. If you were on his management team what would you be suggesting for the next five years? 

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Alida Valli @ 100: Star of The Third Man, Suspiria, and Hitchcock’s The Paradine Case

by Brent Calderwood

Alida Valli, who was born 100 years ago today in Pola, Italy (now part of Croatia), became a legend of Italian cinema in classics ranging in style from Luchino Visconti’s operatic epic Senso to Dario Argento’s supernatural slasher Suspiria. In a career that spanned 68 years, international directors were repeatedly drawn to her dark, inscrutable beauty and haunted green eyes. She's still admired by film lovers worldwide for three noir-tinged movies she made while abroad: The Third Man opposite Orson Welles (where she gets one of the most famous screen exits in history), Alfred Hitchcock’s The Paradine Case, and the French horror film Eyes Without a Face.  

In 1947, producer David O. Selznick invited Valli to Hollywood, hoping to repeat the success he’d had with two of his other European “discoveries,” Ingrid Bergman and Vivien Leigh. He gave her the full star treatment, even briefly abbreviating her name to the one-word “Valli” à la “Garbo” and having Hitchcock helm her first American picture...

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