The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
Sometimes Oscar night offers a silver lining to those who go home empty handed. Case in point: Richard E. Grant may have not won Best Supporting Actor for Can You Ever Forgive Me? but he did get a prize of sorts that was a lifetime in the making. He finally met Barbra Streisand!
Being Oscar nominated was pretty amazing, but meeting with @barbrastreisand and having a proper conversation was an absolute astonishment. 40 carat Gold 🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟 pic.twitter.com/7ahBzdjg9j
Some viewers have chastised the current remake of A Star is Born’s presentation of pop music, but it kind of pales to the cynicism and condescension to 70s rock and roll in the Streisand/Kristofferson version of 1976. What had previous been told as a saga of the film industry is transplanted into rock arenas, the emptiness of fame represented by a ravenous crowd of thousands acting a fool. Know a little something about Streisand’s skittishness with (sometimes rabid) crowds and you can begin to understand the film’s boorish presentation of fandom, so some grace can be granted. But nevertheless, fame suddenly seems all the more vacuous here in the face of Real Artistry.
Chris here. Ryan Murphy is a television titan with American Crime Story: Versace currently drawing high praise and umpteen projects in the pipeline, including a Sarah Paulson-led Nurse Ratched series. This next one already sounds kookier than the rest - Netflix has given a greenlight to The Politician, an hour-long comedic satire.
This month, Filmstruck offers up the one-two-three early 1970s punch of director Peter Bogdanovich. Can you think of any other filmmaker who made three such incredible pictures within a three-year period, only to fade into a disastrous career afterwards?
1971’s The Last Picture Show holds up incredibly well, and ranks as one of the decade’s finest pictures. This film about various lonely souls who have no clue how to connect still resonates powerfully, partially because Bodganovich is unapologetically “adult” in his handling of these story strands. Nothing feels watered-down or soft, and all the characters have edges that make them specific and interesting. Ben Johnson and Cloris Leachman deservedly won supporting Oscars that year for their fine performances, but everyone in the cast delivers beautiful work. There’s a simplicity to the acting, in the best sense: everybody just “is”. Bodganovich has confidence with the material, and he’s passionate about the storytelling. There’s a lingering sadness about the picture that feels distinct in tone, matched perfectly to Larry McMurtry’s original prose and to the characters.
Anne Marie has been chronicling Judy Garland's career chronologically through musical numbers...
Sometimes, surprises happen. And sometimes those surprises are planted. I'm referring in this case to both the reappearance of Episode 9 on this series, and the "unplanned" appearance of Ethel Merman on the already-iconic show guest-starring Barbra Streisand. Though Merman's big reveal was first suggested as a way to placate both the surprise guest and her not-so-gracious host. Judy may have originally balked at the idea of her Tea for Two guest skipping the tea for some titanic trilling, but when the producers roped Barbra into the skit as well, it went from a battle of egos to a mammoth moment in musical history.
The Show: The Judy Garland Show Episode 9 The Songwriters: Various, arranged by Mel Torme The Cast: Judy Garland, Barbra Streisand, The Smothers Brothers, surprise guest Ethel Merman directed by Norman Jewison
The Story: So, here's the thing. I've never been a great lover of Ethel Merman. I understand her importance in the musical canon, and some of the shows written for her rank in my Top 5 Favorite Musicals, but the Hostess with the Mostest tends to leave me cold. But even I am swayed by the sheer power of seeing the three greatest American Belting Broads belting out a song together. It's not even a passing of the torch as the Judy/Liza sketch had been. Instead, this feels very much like three old pros - well, two old pros and one new pro - sizing each other up, celebrating what they see, and cooperating. Though Merman would return later for a proper guest spot, nothing would capture the weird wonder of this trio scene. It's improvised, it's lively, and it's unlike anything else on The Judy Garland Show.
Monday, February 25, 2019 at 7:34PM 
