Revisiting the original "A Star Is Born"

by Cláudio Alves

As the next Supporting Actress Smackdown approaches, The Film Experience is celebrating the cinematic year of 1937. It was then that Hollywood consolidated its favorite myth about itself. While the story model had been making the rounds for ages, both in gossip and on-screen (check out What Price Hollywood?), William A. Wellman's A Star Is Born is the first movie of its name. The tale of Norman Maine and Vicky Lester, his downfall and her rise to fame, would be told three more times to great effect, but one should never forget the original. Not when the movie is this pristine, written to formidable effect by a team that included the legendary Dorothy Parker and performed with utmost conviction by Fredric March and Janet Gaynor…

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Consider Oscar Isaac in "The Card Counter"

by Lynn Lee

Is it too early to start an “Oscar for Oscar” FYC campaign?  Because there needs to be one for Oscar Isaac in The Card Counter, stat.

Sadly, it’s not at all a given that he’ll get much traction.  Initial reception of The Card Counter among critics has been positive but rather muted, and the film hasn’t made much of a mark with general audiences.  It probably doesn’t help that the trailer gives the misleading impression of a snappy, heisty movie about a poker player with a shady past when in reality it’s a slow-burn Paul Schrader Dark Odyssey into the Mind of a Morally Tormented Man.  Schrader fans, at least, will get what they’re expecting; Isaac fans will get that and so much more...

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Almost There: Jack Lemmon in "Glengarry Glen Ross"

by Cláudio Alves

Last week, in the Almost There series, I took a look at Shirley MacLaine's Volpi Cup-winning turn in Madame Sousatzka. This week, it's on to another Venice Film Festival champion who got some Oscar buzz but failed to make it to the Academy's lineup. From a Best Actress winner to a Best Actor victor, from one elderly Oscar-winner to another, from The Apartment's leading lady to its leading man. In 1992, Jack Lemmon won two prizes at Venice, both for his performance in James Foley's screen adaptation of David Mamet's most famous play, Glengarry Glen Ross. The movie is iconic, full of memorable dialogue and oft-quoted one-liners, a treasure trove of vociferous acting, bursting at the seams with tired testosterone. Still, amid such a powerhouse cast of characters and acclaimed thespians, Lemmon shines brightest…

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Nathaniel's Venice Wrap-Up: Jury of One Awards

by Nathaniel R

The Venice jury and I agree on a Screenplay prize for THE LOST DAUGHTER

Elisa's already shared the official winners of Venice (and her take on those choices since she saw the whole competition slate). I admire her completism at festivals but my habit is instead to sample a bit from each program. I saw twenty-one films which is a very low number to see over eight days at a major fest — blame Venice’s absurd ticketing system this year which encouraged people to be on their phones securing tickets WHILE watching movies -- i met several people who had set timers for themselves! -- since they sold out in seconds after becoming available every few hours. Since I refused to play on my phone during movies I missed two crucial movies (Spencer and Dune) but here are my favorite achievements from the films I did catch from all programs (Competition, Out of Competitions, Orizzonti, Biennale Collage Cinema, and Critics Week)

RULES: In true festival jury fashion (even though it’s just myself) I’m only allowing one prize per film. And rather than giving out a Best Actress and Best Actor prize (don't make me decide this early!) I’m listing my 15 favorite performances after the jump. What, too much? Acting is magic so I shan't apologize…. 

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Oscar Charts: Will "Best Actor" be Peter Dinklage vs Will Smith?

by Nathaniel R

Peter Dinklage in the 2019 stage production of Cyrano. Photo from Jeenah Moon for the New York Times

Jose Ferrer won the Oscar playing Cyrano de Bergerac (1950) and forty years later French movie star Gérard Depardieu was nominated for the same role. Thirty-one years later will Peter Dinklage prove lucky number three while having a go at the classic big-nosed role? About that big-nose, though. In the pre-COVID stage run, the production got people talking partially because it made significat alterations to the material, the most visible of which was the lack of that infamous nose. The thinking was that we all have things that make us insecure so the world-famous nose might be a stand-in for anything.

The other major alteration was that it was a musical with songs by The National. What will Joe Wright make of all this for the big screen?

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