Happy 75th Robert Redford

Just wanted to get this out there before the day is up. It's the 75th birthday of Robert Redford, actor/director/producer/film festival icon. Though his work as an actor and movie star isn't as obsessed over these days as his contemporaries from 60s and 70s cinema like past costars Paul Newman, Barbra Streisand, Faye Dunaway, Natalie Wood or Dustin Hoffman, that doesn't mean his star has faded. Movie stars of yore fall in and out of fashion. Who knows which 60s and 70s giants will be beloved in 2036 for example when Redford turns 100!?

Fact: The movies wouldn't be the same without him.

 Without Robert Redford there's no Sundance Festival, no Sundance Institute and without those, so many young unproven talents would not have been boosted or introduced to us in the way they were... and some probably not at all. And without Robert Redford what would have become of The Way We Were, The Sting, Butch Cassidy and the Sundance Kid,  All The President's Men, Out of Africa, A River Runs Through It, Quiz Show, or Ordinary People?  The list goes on. Some of his best films wouldn't even exist without him given how difficult it is to get any film made; pull one string out and things unravel.

So this week in his honor, watch your favorite Redford film, or the one you've always been meaning to get to. At the very least, brush your hand across your significant other's forehead and hair and do your best wistful Barbra Streisand.

Your girl is lovely, Hubbell."

10th Anniversary Redheads: Tilda & Nicole

August 8th, 2001, ten years ago today, was a major day in the careers of two of our favorite screen redheads, Tilda Swinton and Nicole Kidman.

The Deep End, a gripping thriller about a mother (Tilda Swinton) who becomes entangled in criminal acts upon discovering her teenager's dangerous gay liaison, was for many moviegoers Tilda's debut. It was certainly her first leading mainstream-ish role, following closely on the heels of a breakthrough as the villain of Danny Boyle's The Beach (2000). For those of us who had already been hypnotized by her face in Derek Jarman's films or Orlando (1993), it was still something of a revelation and an obvious career pivot point. The Deep End proved that Swinton could carry a more mainstream narrative and that she could absorb awards season heat. Her performance won at least one minor critics awards and nabbed OFCS and Golden Globe nominations though Oscar would wait. Tilda would go on to continue her astonishing dual track career of headlining brilliant daring fare in arthouses whilst showing up in showy supporting roles in mainstream films which eventually led to that Oscar win for Michael Clayton. Didn't The Deep End make all of this possible... or least predict it?

Do you ever think about The Deep End these days?

Today's other actressy anniversary is less a breakthrough than an emancipation.

Ten years ago today Nicole Kidman and Tom Cruise finalized their divorce while Nicole's star was going supernova. Moulin Rouge! had become an unlikely hit earlier in the summer while the media continued to salivate over the Kidman/Cruise split. And the same week the  divorce was finalized Kidman opened her second box office hit of the summer, The Others which eventually broke the magic $100 million barrier. Summer 2001 was unarguably The Summer of Nicole's Ascendance.

In the past decade, Kidman has proved her screen worth and her star mojo so emphatically and so often that the Mrs. Tom Cruise days seem like a barely remembered dream, don't they? Ancient history that was in actuality only ten years past.

Are new Kidman and Swinton films still events for you?

Centennial: Do You Love Lucy?

Today is the centennial of one Lucille Ball, born 100 years ago on this very day in New York. Her most famous incarnation was obviously "Lucy Ricardo" on television's beloved sitcom I Love Lucy. But until I Love Lucy and intermittently afterwards, she graced the silver screen, too.

The earliest entry in her filmography I've personally seen is the wonderful ensemble comedy Stage Door (1937) which is an absolute must-see for all actressexuals. No matter where you look on the screen in that film aboard a boarding house for Broadway dreamers, there's a screen goddess for your eyeballs: Hepburn, Ball, Rogers, Miller, Arden. Ball's last film was the ill fated musical Mame (1974) which is often ridiculed for its liberal use of ye olde 'smear the screen with vaseline' de-aging technique and for the quality -- or lack thereof -- in the singing. But even if Mame isn't anything like a classic, if you erase it from film history you lose that awesome scene of her and Bea Arthur crooning frenemy classic "Bosom Buddies" and we can't have that!

[Editor's note: Ugh, what is up with that clip. It's in widescreen but it looks like pan & scan. Is the aspect ratio off on all the vhs/dvd copies available?]

But the Lucy movie my mind always drifts to is Douglas Sirk's Lured (1947). It's worth a look for the curio factor alone, it being an early Sirk, a thriller which predates and predicts Hollywood's serial killer craze by a good 50 years, and an odd snapshot of a moment in time where it looked like she might become a dramatic screen star instead of the loveable goofball TV comic she was clearly meant to be. 

If you're interested in Lucy, there's a new book out called Lucille Ball FAQ which is a treasure trove of weird trivia. For example, did you know that she actually auditioned for the part of Scarlett O'Hara in Gone With the Wind (then again, who didn't?) or that she really wanted but just barely missed out on being Sugarpuss O'Shea in screwball classic Ball of Fire or that that she turned down the fabulous "Alexandra" in Sweet Bird of Youth? (Geraldine Page earned a well deserved Oscar nomination and got to fondle Paul Newman. What was Lucy thinking?)

A new book and a still from Stage Door (1937) with Hepburn, Ball and Ginger Rogers

Did you know that the first celebrity name-checked on I Love Lucy was the movie star Gregory Peck? Or that in one episode Ball mimics her Stage Door castmate Katharine Hepburn's most famous line-reading from that movie "the calla lilies are in bloom again"?

 The subtitle of the book is "Everything Left To Know About America's Favorite Redhead". I 'm not well versed enough in Ball's lore to know if that's accurate but the book certainly offers 'A Lot to Know About America's Favorite Redhead.'

What's your fondest memory of Lucille Ball?

P.S. Google is celebrating as they do with a cute tv screen and channel changer.

10 years ago this week, 'NSYNC predicted the Rise of Timberlake

Hello, everyone! It's Mark Blankenship from The Critical Condition. You may remember me from a recent podcast here on TFE, but otherwise, this is my first appearance on the site. I'm not saying I'm nervous, but I changed my outfit six times before you got here, and I did this silly thing with my hair that you probably didn't even notice and... oh! Where are my manners? Why don't we sit in the living room and talk about you?

Ahem. Anyway.

As you already know, this week marks the tenth anniversary of Wet Hot American Summer and its ever-glorious scene of Janeane Garofalo destroying an infirmary. However, that is not the only cultural touchstone that arrived a decade ago. This week also brought us Celebrity, the final album by 'NSYNC.

Even at the time, the album was a big deal, selling 1.87 million copies in its first seven days and generating hit singles like "Girlfriend," "Pop," and "Gone." None of these were quite as brilliant as"Bye Bye Bye," but they were still pretty magical. (Plus, Dirty Pop is a great drag name.)

In retrospect, however, this album is even more important because it signalled the birth of Justin Timberlake: Media Machine. Before Celebrity, he was simply the most popular member of a boy band, meaning he occasionally shared lead vocals and danced in the back of a V formation.

Celebrity, however, was essentially the Justin show. Looking at the album cover, you could assume he was the lead artist, and watching this video or this one, you might think you were watching "Cry Me a River."

Hey... who are those guys in Justin's light?

When Lance Bass wrote a book (sigh), he suggested this intense focus on Justin broke up the group, and he may be right. Intentionally or not, this period let 'NSYNC's success provide a low-risk incubator for Timberlake's solo career. If he fizzled, then he still had the group to fall back on, but if he sizzled, then he could leap into new projects.

That's kind of how Timberlake evolved from a mere pop star into box-office draw. While nestled in his music career, he started making limited appearances as an actor, popping up in SNL videos and Christina Ricci vehicles. Failure wouldn't have meant much, since people were more focused on "SexyBack" than Southland Tales.

Obviously, though, the acting thing worked out. The Social Network, Bad Teacher, and Friends With Benefits have made Timberlake a movie star who used to make records, not a pop singer who moonlights in film. And to think this was all predicted when we heard "Pop" on the radio!

Timberlake at the Oscars, February 2011

Timberlake isn't the only person to transition from one medium to another, of course, but as Celebrity hits double digits, it's interesting to consider just how successful this former Mouseketeer has been. Ten years from now, we might be analyzing how Bad Teacher laid the seeds for Senator Timberlake's eventual appointment as the Secretary of Education.

[Editor's Note: Mark is currently hosting an amazing "ULTIMATE POP SONG" contest at Critical Condition... there's only 24 hours left to vote on the first round match-ups. Don't miss the hilarious POP SONG commentary at Nick's Flick Picks, and Low Resolution, either. Some of the first bracket countdowns are true 'Sophie's Choice's. Go now... vote!]

"Wet Hot American Summer" at 10!

Alex BBats here, and today is the 10th birthday of one of my all time favorite films.  

Watching a film can be a relatively light affair.  Simple plots, easy jokes, characters who follow archetypes to the tee. A.O. Scott recently proposed that more challenging and unconventional films, such as Bela Tarr’s Turin Horse, might expand a moviegoers palate and appetite for cinema.  Occasionally a film brings the viewer into a lawless land, not one filled with bandits, but a can of vegetables who happens to be a Vietnam Veteran, a boy who can create gusts, and haystacks able to block a motorcycle.  Wet Hot American Summer (2001) challenges the viewer with absurdity, its reward being pure bliss.

Wet Hot American Summer is bedazzled to the brim with details: funny posters, extras dancing, strange gestures, or that fantastic breaking glass sound effect.  I’ve seen Wet Hot American Summer over 30 times and always find, or am given, something new to smile at.  (This latest playthrough, I heard a small, impressed gasp that the talent show MC hailed from  the Catskill Mountains resort circuit and Amy Pohler whispering “This is terrible” during the Godspell number.) 

Depth is rare in film and rarer in comedy.  David Wain and the company put there all into making this film the best possible.  There's a youthful vigor to the movie, which is especially considering that twenty and thirtysomethings are playing teenagers. Every scene in Wet Hot American Summer has something unexpected. The actors don’t sell the jokes, they own and share them.  You can tell everyone had an amazing time on the set.  Eighty percent of the cast (or thereabouts) went on to become A-list actors. (Bradley Cooper gets a permapass because of this film). Even the kid that gets tossed out of the van has an amazing resume. 

Seriously, check out his IMDB page, Kyle Gallner

Nathaniel once described Rachel Getting Married as “Nathaniel Getting Hugged.”  I feel that Wet Hot American Summer is Alex Getting Loved Passionately.  I’ll snuggle up with Wet Hot American Summer any season.

Also, Sluts Rock.