Tuesday, July 31, 2018 at 11:01AM by Nathaniel R
Because Jean Brooks had frequently been mentioned as a supporting actress standout of 1943, the last film I screened for our celebration was Val Lewton production The Seventh Victim. I have only one question: what did I just watch? Kristen Lopez was right on the podcast when she called it a "polite" horror movie. Even the satanic villains are polite...
Tuesday, July 3, 2018 at 4:50PM by Nathaniel R
This past weekend Jason and I went to a big screen showing of Hitchcock's masterpiece Rear Window (1954). Or one of his masterpieces that is; has more than his share, that one. We went just because it was playing (bless you rep scene) and it was the absolutely best thing to see during an actual heatwave in NYC because it's set during one yet it's its own air-conditioning. It's utterly cool...
I love that so many characters in the picture but especially LB (Stewart), eternally in pajamas and broken leg cast, come across like the heat is wearing at their nerves, temper, and clothing. Except Grace Kelly as Lisa Carol Fremont, who just floats onto the screen in a cocktail dress, in slomo no less in one of the cinema's all time greatest entrances. Lisa always looks like she is immune to common people concerns like the weather. This only benefits the film because it plays deliciously to L.B.'s (James Stewart) conflicted perception of her as somehow both above the mortal world but also too fragile for it. He thinks his rough and tumble travelling photographer existence too much for her. But isn't the rich dichotomy of the film that she's actually braver than he is when all the dangerous seeds the picture so gleefully places, eventually bloom?
I've seen Rear Window several times but somehow I always forget big chunks of it. Like that it was set during a heatwave -- how did I forget that? But the heatwave ready to melt me again once I left the theater is beside the point. As I sat there totally engrossed and then delighted and then tense and then elated, I was reminded of a simple fact: Oh riiiiight, this perfect thing is perfect.
COMMENT PARTY ☛ So my spread-the-good-vibes question to you is this. When was the last time you saw an old favorite only to be surprised anew at its total perfection?
Thursday, April 5, 2018 at 11:00PM The April Showers series is back at The Film Experience, here's Jorge on how the most famous shower scene in cinema histor was written on the page.
One thing about iconic cinema sequences is that back when the script is written, before the movie is shot, released and gains critical acclaim (sometimes before it is even developed), they are not conceived to be iconic. They are simply a piece in a puzzle; one more segment in a longer story.
But sometimes sequences transcend. Sometimes they become essential pieces of the cinema mosaic. And few scenes have stood the test of time better than the shower scene in Psycho. It has been recreated countless times, spun hundreds of homages and parodies, and changed the way horror scenes are shot, and what audiences should expect of the genre. Let’s take a look at how it looked in the page, before it acquired icon status, when it was merely three pages of a script…
Friday, February 16, 2018 at 11:49AM Hi, we’re John and Matt and, icymi, we are watching every single live-action film starring Streep...
#7 — Brooke Reynolds, a Waspy urbanite and unlikely femme fatale with a shady past and a killer blonde bob.
MATTHEW: No actor, not even the oft-cited Greatest Actress of All Time, is immune to the inevitable and indisputable stinker. Seven projects in and just touching the surface of true-blue movie stardom, Meryl Streep finally made her first real turkey...
Monday, January 22, 2018 at 4:30PM Jason from MNPP here for our weekly "Beauty vs Beast" party - I'd been holding off on fêteing Paul Thomas Anderson's latest and most recently greatest Phantom Thread until it got its proper wide release, and now that it has, hitting over 800 theaters across the US this weekend, let us intrude ourselves upon the very strange (and strangely satisfying) union of Reynolds Woodcock (Daniel Day-Lewis), master designer, and his flung-from-space muse Alma (Vicky Krieps). Anderson muddies the waters great deal on what we think we know about this kind of power dynamic going in - Alma's nobody's pawn or pushover. And in Reynolds' sparkle-eyed acquiescence we see what she sees as worth all the fuss, too...
PREVIOUSLY I kept hearing how last week's Hitchcock contest was tough for everybody and the numbers bear it out because this might've been the closest race we've yet had - Cary Grant topped Jimmy Stewart by just 3 votes out of over 300 cast! I'd say we're fairly torn on which man got the most from the Hitch treatment. Commenter Claran was decisively Team Cary though:
"Take that, Jimmy! Lest we forgot who stole the Oscar that should've gone to Grant, who wasn't even nom for The Philadelphia Story!! Tsk tsk....Shame on you, Oscars!!"
