50th Anniversary: "Anne of the Thousand Days"

Anne of a Thousand Days (1969) was released 50 years ago today.

by Cláudio Alves

Even before her famous death, Anne Boleyn had become a legend. I don't say this to aggrandize the historical figure, but to explain that the second wife of Henry VIII had transformed into something not quite human. Legends aren't people so much as abstractions of them, told and retold, morphed by cultural shifts and the interest of those who tell them. 

With the birth of cinema, Anne Boleyn would come to be one of the stalwarts of the historical drama on the big screen. Unfortunately, the cycles of empty mythologizing wouldn't end with the advent of new technology. As a character, Anne Boleyn is more often than not a symbol. She's a monstrous harpy or she's a martyred victim, she's a seductress who brought disgrace upon herself or she's an icon who died at the hands of a perfidious tyrant. Even on the rare instance when she gets to be protagonist, rather than a supporting player in another's tale, she's not allowed to be a person with a full characterization. For what it's worth, 1969's Anne of the Thousand Days, at least, tries to do right by Anne Boleyn.

I'm unsure if this is the filmmaker's doing or the singular feat of Geneviève Bujold...

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Oscar Mythbusting: 'Weak' Best Actress Years (feat. "Tom & Viv")

by Cláudio Alves

There's been much talk of this year being a weak one for the Best Actress category. That's nonsense. While it's easy to understand where such dreary thoughts come from, it's a foul myth. Every year has the potential to be great, you just need to look at films outside the Academy's usual favorites and our preconceptions about what constitutes awardable acting. 

Take 1994, a year traditionally considered among the weakest for the Best Actress Oscar. While it's true the nominated five aren't a particularly stellar collection, they each bring something to the table. There's Winona Ryder and her anachronistic charm, Jessica Lange's primordial rage and lust, Susan Sarandon's solid reactions, and Jodie Foster's fearlessness. Finally, there's the lead actress of Tom & Viv, a film now celebrating its 25th anniversary…

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"Three Colors: Red" at 25

by Lynn Lee

Transfixed.  Transported.  Exhilarated.  These are words I don’t use lightly when I’m talking about movies, but they all apply to my reaction the first time I saw the final installment of Krzysztof Kieslowski’s Three Colors trilogy.  And in large measure they still do.  Even if the initial wonder has given way to a comforting familiarity, few films capture the universal human yearning for connection and kinship (or fraternité, the unifying theme of Red) as vibrantly yet delicately as this one.

I first saw Red some years after its initial release, at a special screening at the university I was attending.  I went in knowing very little about the film except that the friend I went with had seen it before and spoke of it in glowing terms.  He noted that in an ideal world I’d have seen the preceding chapters, Blue and White, but thought I’d enjoy Red even without having done so.

He was right. 

In fact, I occasionally wonder if Blue and White – both of which I admire rather than love – suffered by comparison when I saw them later.  Perhaps I’d have a different take if I’d watched the trilogy in the intended order.  But I don’t think it would have altered my strong personal affinity for Red, which quickly became one of my all-time favorite films...

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Centennial: Gillo Pontecorvo

100 year ago today in Pisa, Italy, the director Gillo Pontecorvo was born.

He only made five narrative features in his career, which is surely one of the reasons that he's overshadowed in cultural memory by the far more prolific mid 20th century Italian giants Vittorio de Sica and Federico Fellini. Still Pontecorvo's two best known films were both nominated for the Best Foreign Film at the Academy Awards, the concentration camp drama Kapò (1960) and the resistance/war drama The Battle of Algiers (1966). The latter, which won the Golden Lion at Venice in its year, is still revered as a masterpiece. Have you seen either of these classics?

Silent Sunday: "A Virtuous Vamp"

Allow us this tangent for the centennial of the silent comedy The Virtuous Vamp (1919). It starred the then popular actress Constance Talmadge who claims to have been receiving over 60 scripts a week during this period in her career. This particular comedy is among the many honored titles in the Library of Congress National Film Registry as being "culturally, historically, or aesthetically significant". The Virtuous Vamp is now in the public domain though we haven't found a way to screen it yet. From our understanding, it's not a "lost" film which is always a relief with silent pictures since the bulk of them vanished from existence through Hollywood's own negligence about their movies. Movies were always and remain cultural artifacts rather than disposable "product" to be tossed once they've stopped collecting immediate coin. 

The not-at-all sexist plot (joke) is about a virtuous girl who takes a job at an office of men which causes all sorts of trouble -- none of them can concentrate and do their work due to her beauty...

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