Artist & Muse via Robert Doisneau

Today marks the centennial of the great French photography Robert Doisneau and though he wasn't a celebrity photographer --  the kind we obviously have the greatest use for as film obsessives -- he did them on occassion. I love this shot of one of the great auteur/muse pairings (both onscreen and off) actor Jean Marais (left) and Jean Cocteau (right). 

Here's another of Pablo Picasso and Françoise Gilot.

Remember when Anthony Hopkins and Natasha McElhone pretended to be them? I know I know. No one saw Surviving Picasso (1996)... but I did because Julianne Moore was Dora Maar (another Picasso victim... excuse me, lover!) and with Julianne I martyr myself to completism. 

If you could photograph one auteur/muse pairing, who would it be?

"Are they made from real Girl Scouts?"

March 12th Happy Centennial Girls Scouts of America!

Girl Scout: Is this made from real lemons? I only like all natural foods and beverages. Are you sure they're real lemons?

Pugsley: Yes.

Girl Scout: Well, I'll tell you what. I'll buy a cup if you buy a box of my delicious girl scout cookies. Do we have a deal?

Wednesday Addams: Are they made from real Girl Scouts?

The Girl Scouts of America will never have a better movie moment than Addams Family (1991), am I right? I love that Mercedes McNab graduated from "Girl Scout" to a name role, Amanda "I'm going to be an actress!" Buckman' in the sequel Addams Family Values (1993) where she squared off with Christina Ricci again in that movie's most memorable plot thread.

Long live Harmony Kendall!

Monologue: "Lone Biker of the Apocalypse"

Michael C. here to drop off your regularly scheduled Monday Monologue

This week marks the 25th anniversary of the Coen brothers' screwball, baby-knapping comedy Raising Arizona. Rewatching the film it is striking just how distant the rowdy hayseed comedy feels from cool control of the brothers' recent output. This isn't meant as an accusation that they have gone soft in their middle age. Quite the contrary. But even as they have produced a handful of unequivocal masterpieces I still harbor a soft spot for their wild younger days, much the way a Woody Allen fan can't help but pine for the anarchic spirit of Bananas no matter how much he appreciates the cinematic mastery of Crimes and Misdemeanors.

Take the scene where a premonition of doom visits Cage's H.I. soon after swiping one of the "Arizona Quints" to complete his family unit with Holly Hunter's Ed:

That night, I had a dream. I drifted off thinking about happiness, birth and new life, But now I was haunted by a vision of... He was horrible. The lone biker of apocalypse. A man with all the powers of Hell at his command. He could turn turn the day into night and lay to waste everything in his path.

He was especially hard on little things-the helpless and the gentle creatures. He left a scorched earth in his wake befouling even the sweet desert breeze that whipped across his brow. I didn't know where he came from or why. I didn't know if he was dream or vision. But I feared that I myself had unleashed him. For he was the fury that would be as soon as Florence Arizona found her little Nathan gone. 

The characters are both beloved Coen brother templates. The Biker (memorably embodied by former pro boxer Randall "Tex" Cobb) is one in a long line of remorseless heavies that reached their apex in Anton Chirgurh, while Cage's H.I is in the grand tradition of Coen brothers morons that continued through the escaped bumpkins of O Brother right up to the glorious idiocy of Brad Pitt's Chad Feldheimer.

Likewise giving even their most dimwitted characters memorable turns of phrase like "befouling the sweet desert breeze" is an unmistakable Coens trademark. See: Lebowski, Big.

What stands apart is the wild, improvised feel of the sequence. The series of gags that introduce the Biker - including the grenading of a cute, fluffy bunny - would be right at home in a Road Runner cartoon. The capper on the whole sequence is a doozy of a shot where the camera, which we had assumed to be the Biker's POV, goes unexpectedly airborne and flies right through a window landing in the open mouth of Mrs. Arizona as she screams. The moment can't help but bring to mind the fluid insanity of Sam Raimi's Evil Dead series.

When Joel and Ethan have returned to screwball material in flicks like Burn After Reading the execution more closely resembles the deliberate style of Arizona's follow-up, Miller's Crossing. And while I repeat this is neither good nor bad, and that all great artists evolve, I can't deny I would kill to see what some meticulously controlled later day title like, say, A Serious Man would look like if it was made with the same unhinged, shoot from the hip style the Coens brought to Raising Arizona a quarter century ago.

Recent Monologues:
"My name is Charlene" -Missi Pyle in Spring Break
Megan and the Dolphins - Melissa McCarthy in Bridesmaids

Happy 50th Jim Carrey!

A very happy ½ century mark to Jim Carrey! He seems to have given up on chasing Oscar and returned to the generally more lucrative world of high concept multiplex comedy. We kind of miss his dramedic self.

Favorite Carrey performances off the top of my head.

1. Eternal Sunshine of the Spotless Mind (2004)
2. The Truman Show (1998)
   ...and yes, I'd have nominated him for both of those. 
3. Man on the Moon (1999)
   ...one of those rare cases where Oscar got really stingy about loving biopic mimicry. 
4. Doing Time on Maple Drive (1992)
5. Batman Forever (1995)
6. I Love You Phillip Morris (2010)
7. The Mask (1994)
8. Bruce Almighty (2003)
9. Liar Liar (1997)
10. Lemony Snicket A Series of Unfortunate Events (2004)

 It's true. I never saw the comedic blockbusters involving his talking ass or doubled idiocy.

Yours?

The first time I ever saw him was on the shortlived sitcom "The Duck Factory" which I watched as a kid because I wanted to be an animator when I grew up. The peak of my interest was The Truman Show. Strange that that movie isn't talked about more. 

The Duck Factory, The Truman Show, Burt Wonderstone

He's currently filming Burt Wonderstone with Steve Carell. Carell plays the title role but they're playing rival magicians in Las Vegas... Carrey being threatened by the newer magician Carell. Could certainly be fun but was no one worried about some sort of Evan Almighty curse? That last time Carrey passed the baton to Carell it didn't work out so well. Not that critical favor matters to Hollywood when you can break $100 million just by showing up.

25th Anniversary: George Clooney's Big Screen Debut

Twenty five years ago one of the world's few bonafide movie stars and one of this year's Best Actor frontrunners made his silver screen debut. Internet sources disagree on the exact date -- probably due to the film being a no-budget indie with an erratic release schedule -- but the earliest is January 9th. The point is this: We've now reached a quarter century of Clooney on the big screen!

If you investigate a trail of blood in a horror movie, you deserve to die.

Like many stars before and after him, George Clooney's first movie role was in a cheapo horror flick. His was named Return to Horror High (1987). Though Clooney is dispatched in the first fifteen minutes (first victim is an honor in horror casts, yes?) he was a big enough "name" in a field of (mostly) nobodies to get second billing.

He'd already had two short-lived series regular gigs on television, most famously a recurring role on The Facts of Life. In 1984 he starred in a sitcom called E/R which is hilarious in retrospect (the gig not the show) since it was about emergency room doctors in Chicago. Ten years later with ER, a very different show about the exact same thing, he'd become a major star. It'd be nice to state something triumphant like 'Return to Horror High was the first and last time he'd ever have to accept second billing!' but it wouldn't be true. In between there was lots of flailing around... in roles and screens big and small.

A prophetic moment after the jump.

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