April Showers: The Paperboy

waterworks at eleven, here’s Andrew with a brief one

Would anyone be willing to stand with me when I declare The Paperboy to be the best thing Lee Daniels has done? The movie is undeniably crazy, out-of-control, off-centre, you name it. But, it’s this very tendency for excessiveness and divergent tones that makes it such a fine representation of Daniels’ skills as a filmmaker. The Paperboy, from its most hilarious moments to its most obscene, is completely a Lee Daniels in the best way possible. It has as many important things to say about race and social constructs in its era as much as Precious or The Butler but uses pulp, the ridiculous and even the improbable to tell its story. Sometimes with pit-stops at randomness for the hell of it.

Case in point, this evening’s shower about midway through the film. Important moment of character development, or just a chance for a fun, rainy dance with Zac Efron in underpants? You decide.

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April Showers: Midnight Express (1978)

Waterworks some nights at 11. This one is from the vaults from the first season. But it's worth a revisit as the film is currently available on Netflix Instant Watch.

I've always been a little bit a lot perplexed by the famous shower scene in Alan Parker's Midnight Express (1978). I'm not exactly sure why it's in the movie. Midnight Express strongest asset is arguably its expressive physicality and gritty tactile quality; you feel like you're right there in the grotty hellish Turkish prison, sweating and suffering along with Billy Hayes (Brad Davis). But the sexual vibes coming off of the movie are at times unfathomable. Is it gay? Is it bi? Is it straight? Is it just horny? Or is its ambiguous eroticism simply a by-product of casting a star as carnally charismatic as Brad Davis in the lead role?

As warm up to the famous shower scene we get a montage detailing the friendship of Billy and Erich (Norbert Weisser) a fellow prisoner. They've been in this hellhole for years. We see them do yoga togethe and bathe each other. They even duet on a private meditation mantra...

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April Showers: Éponine in Les Misérables

waterworks at 11. here's abstew on Les Miz...

Ever since the musical version of Victor Hugo's sprawling novel hit the boards, Éponine, the tragic waif whose love for her friend Marius goes unreciprocated, has always been a fan favorite. Her storyline in the musical is definitely the most relatable. I don't know about you, but I've never had to turn to prostitution to support my young child or served a 20 year prison sentence for stealing a loaf of bread. But being in love with someone that doesn't have the same feelings for you? Yeah, we've all been there. And this patron saint of unrequited love's anthem "On My Own" has become the rallying cry of broken-hearted teenage girls (and gay boys) for decades now.

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April Showers: The Piano

The evening waterworks continue. Here's Andrew on a particularly gloomy shower.

The Piano is a moody movie. Moody as in unpredictable and volatile, and moody as in suggesting melancholy and mystery. Even before the story really gets underway the film's atmosphere is one of unease. And it's because it's not just the story that's moody but visually, too. As Stuart Dryburgh's camera observes the rough, muddy ranches of New Zealand the harsh exteremities of the terrain seem to be not just incidental but direct representations of the similarly implacable characters.

This is but one of the numerous ways in which the Gothic influence on The Piano shines through, where landscape informs elements of plot and characters. The Piano checks off a number of the prerequisites for Gothic drama: impulsive, sometimes tyrannical men, women in distress, heightened emotion, a mysterious atmosphere, a somewhat isolated locale, stormy weather and muddy terrains. 

Of the influence of the Gothic in the film, Jane confesses...

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April Showers: Thelma & Louise

waterworks all month long... this one's from the vaults

Tonight's shower is provided by mother nature rather than traditional indoor plumbing. That's appropriate since Thelma & Louise (1991) is elemental: all wide open spaces, blazing sun, dusty earth and women as hard driving forces of nature.

While the film belongs to Susan Sarandon's Louise, Geena Davis's Thelma is the maddening/adorable one. Among her many exasperating yet endearing qualities is her uninhibited horniness for one J.D. (early Brad Pitt). In the still above, Louise has booted the caddish hitchhiker out of their car since the friends are getting hotel rooms for the night. J.D. struts away into the rain shower, fully confident that Thelma's eyes are still on him. He even kicks up a boot heel, a private little show for her, as the car drives away.

There he goes. I love watching him go.

Wrangler butts drive her nuts... or something.

 

If you've seen more than two or three movies in your lifetime you'll know that this lustfully observed exit will not be J.D.'s exit from the movie. But Thelma apparently hasn't seen so many movies. She's surprised (and thrilled) when he comes a'knocking on her hotel room door later that same night.

J.D. is such a skilled charmer that the outcome of his neighborly call is never in doubt. The aw shucks grin is ease itself. He even knows just how to pose in the pouring rain so that the water runs, just so, off his cowboy hat. This 'I'll get out of your hair now' wet puppy act is all pretense. He's no puppy but a dog. He knows he's getting out of the rain. He knows he's getting into her bed.

Do you remember the first time you saw Brad Pitt in a movie? This was mine.