P.S. Katharine Hepburn's "Guess Who" Oscar

Andrew here, shining a final light on Katharine Hepburn, a postscript to TFE's generous Katharine Hepburn week despite our host never having been a huge fan. Nathaniel’s write-up on Katharine’s twelve Oscar nominations nailed one of the key oddities of the icon's Oscary career. Her win in 1967 for Guess Who’s Coming to Dinner was only the second Oscar she picked up, a full 35 years after her screen debut. For perspective, by that time her biggest peers of the day - Bette Davis, Olivia De Havilland and Ingrid Bergman had already picked up dual statues.

It must have seemed unlikely by then that Katharine was ever going to get a statue to keep her Morning Glory trophy company, especially since with Spencer Tracy’s declining health she was working less and less. Consider: she'd made 15 films in the thirties, 11 in the forties, 7 in the fifties but Guess Who’s Coming to Dinner  in 1967 was only her second film that decade. I'd argue that this win marks the only legitimate sentimental win for Kate, though Oscar's love for sentiment is not something new to any of us.

Like all of her Oscar wins, Katharine was not there to accept the prize but in Garson Kanin’s memoir of Katharine and Spencer ("Tracy and Hepburn: An Intimate Memoir") he included a bit about her finding out the news.

She was in France, making The Madwoman of Chaillot when the news came through by telephone. Her housekeepers, Willie and Ida, phoned her from Hollywood, awakening her just before 7. A.M., French time.

“You won, Miss Hepburn!” they shouted. You won the Oscar!”
“Did Mr. Tracy win it, too?” she asked.
There was a pause before Willie replied, “No, Madam.”
“Well, that’s okay,” she said. “I'm sure mine is for the two of us.”
The following day, Gregory Peck received a cable:

IT WAS DELIGHTFUL A TOTAL SURPRISE I AM ENORMOUSLY TOUCHED BECAUSE I FEEL I HAVE RECEIVED A GREAT AFFECTIONATE HUG FROM MY FELLOW WORKERS AND FOR A VARIETY OF REASONS NOT THE LEAST OF WHICH BEING SPENCER STANLEY SIDNEY KATHY AND BILL ROSE. ROSE WROTE ABOUT A NORMAL MIDDLE AGED UNSPECTACULAR UNGLAMOROUS CREATURE WITH A GOOD BRAIN AND A WARM HEART WHO’S DOING THE BEST SHE CAN TO DO THE DECENT THING IN A DIFFICULT SITUATION. IN OTHER WORDS SHE WAS A GOOD WIFE. OUR MOST UNSUNG AND IMPORTANT HEROINE. I’M GLAD SHE’S COMING BACK IN STYLE. I MODELLED HER AFTER MY MOTHER. THANKS AGAIN. THEY DON’T USUALLY GIVE THESE THINGS TO THE OLD GIRLS YOU KNOW.

How ironic that last line seems now considering, as Nathaniel says, she gained two more awards at such an old age. By that age Oscar has always fallen out of love with actresses which is one of the reasons I’ve never much minded that her Dinner win is wrapped in sentiment. Of her twelve nominations it’s the least showy of her roles, a steadfastly reactive role but for that delightful “firing” scene. it’s mere happenstance that her birthday fell on Mothers’ Day this year but even if the performance does not rise to the top in the annals of great Katharine Hepburn performance it takes on a lovely, if sentimental, meaning as a reminder of great mothers everywhere. Kate had no children herself but between domineering mothers in Suddenly Last Summer, drug addled ones in Long Day’s Journey into Night and generally perfect ones in On Golden Pond, Christina Drayton in Guess Who’s Coming to Dinner is perhaps her best one. True, that stands as little reason to hand out Oscars but who’d have imagined one year later she’d be breaking the record for most Best Actress wins?

In 1967 this second Oscar must have seemed like the ultimate reward to an actress who was already a legend and that acceptance telegram does read as particularly charming. Happy birthday, Kate.

Hit Me With Your Best Shot: "Summertime"

For this week's episode of Best Shot, the collective series in which bloggers are invited to choose their favorite image from a pre-selected movie, we went to Italy for David Lean's Summertime (1955) starring Katharine Hepburn. The film won both of them Oscar nominations, for Direction and Acting respectively, and since I'd never seen it it fills in two Oscar gaps in my 1950s cinema.

It's a relatively modest picture all told, concerned not with big sweeping travelogue beauty (though the travelogue beauty is accounted for) but with an internal flowering. Spinster Katharine Hepburn goes to Italy, goes a little wild (well, wild for an American spinster from Akron Ohio), and then -- spoiler alert -- leaves Italy again. It's all very E.M. Forster really! (See A Room With a View and Where Angels Fear to Tread).

She was coming to Europe to find something. It was way back in the back of her mind was something she was looking for, a wonderful mystical magical miracle. I guess to find what she'd been missing all her life."

My runner up shot comes early in the picture and I include it because I love the way it dialogues with my favorite image at the movie's end. Jane Hudson has just arrived at her summer home, and she has a conversation with her landlady about a girl she met on the way to Italy. She describes in detail the reasons the girl is travelling abroad. Jane is too guileless to be talking about herself in the third person but she is, in essence, talking about herself, whether or not she knows it. She's also prophesying her own journey including an amusing a "let loose a bit" comment that Katharine waves off with prudish modesty.

I find the light in this sequence quite astute. The women are not in silhouette exactly -- the scene is about Jane, after all, rather than Italy -- but Italy is bright and beckoning anyway. She's not really looking at Italy... not yet at least... wrapped up as she is in connecting with other people (she hopes to make friends) and her own internal possibilities. 

I often find Hepburn a little too fussy as an actress -- particularly in her later work -- but I think she's marvelous in key scenes here really capturing Jane's internal battle between her desire to connect and her own internal nature. Even in the scenes which are very much about her attraction to Renalto (Rosanno Brazzi) she's often just looking off into space and, one assumes, her own thoughts. Jane's just not very good at connecting for as much as she'd like to. She has too many fussy walls up.

I think that's why I found the final scene so moving, despite not particularly caring for the movie. My choice for best shot comes with the film's ending. Jane has opted to leave Italy and Romantic Love behind. She likens it to leaving a party before she's worn out her welcome. It's common sense really given the circumstances of the affair but you hurt for her for giving up the thing she's always wanted and you have to wonder if it isn't partially fear and retreat to a safer lonelier home. Whether or not Jane will be more open to love after the movie is up for debate. Yet in that sudden alarming lurch outward to wave goodbye one last time to Renato (but really, to Italy and Love) I think Hepburn's gestural performance provides a marvelous clue. If returning to Ohio is, in fact, a comfort zone retreat why does her body move with such spirited abandon? 

Next Week
We're staying in Italy for The Talented Mr Ripley (1999). You know you want to sound off on that one. So join us, will ya?

14 More People Summering in Italy with Hepburn
Amiresque is overwhelmed by architecture
Encore's World on the quintessential 'spinster' performance from Hepburn 
Antagony & Ecstasy wants to talk about Aspect Ratios... and perceptions of "low points"
The Film's The Thing a Cinderella of a certain age 
Cinema Enthusiast goes to a real ball with gardenias
We Recycle Movies on David Lean's undeniable obsession with trains 
Pussy Goes Grrr this is how you stage a breakup 
Cinesnatch really goes all out with shot commentary, contrasts and travelogue beauty 
Film Actually has coffee -- or doesn't rather -- with Hepburn 
She Blogged By Night picks the first shot I think we've ever seen in this series devoted to an extra. It's beautiful! 
Los Mejores Planos gives out gold, silver and bronze medals for his favorite shots 
Cal Roth sees Jane's secret sensuality
Dancin' Dan on the scene that makes the movie 
My New Plaid Pants memories of Italy come flooding back 

Team Experience: Great Losers, Actress Edition (Pt. 2)

As long time readers know The Film Experience started out as a one-man show. That man being myself, Nathaniel R. (Remember in Ye Olden Times when posting two goodies a week made you a prolific must-read web star? I still remember David Poland's Hot Button which did just that!) Over the years the royal "We" has stopped being royal and become literal... both from necessity of content-need and desire of companionship - writing can be lonely! I still do the bulk of the posting but now there are a handful of regular columnists and a dozen more occasional voices. Seeking out perspectives other than one's own keeps you fresh and alert. 

So I love these Team perspectives (and I love Amir for dreaming them up / hosting them!) even when they cause me pain. Of course, I get to vote too but, being a Benevolent Dictator, my vote only counts once. DAMNIT. Which is to say that though I loved reading the "Team Top Ten: Oscar's Greatest Losers Best Actress Edition" I was more than a little freaked out not to see a picture of unravelling Deanie in her bathtub staring back at me needily.

the best performance of 1961: Natalie Wood in Splendor in the Grass

Where is Natalie Wood in Splendor in the Grass?!?" 

I bellowed internally.

Then I imagine this reaction was shared by many of you 'out there in the dark' albeit with a rotating snubbed actress /film causing the indignation. As it turns out Natalie Wood did make lists other than my own but not enough to secure her a top ten placement. Natalie and other divas who missed the list are after the jump...

Click to read more ...

Team Top Ten: Oscar's Greatest Losers (Actress Edition)

Hepburn won 4 Oscars. Every win leaves a trail of four lossesAmir here, to bring you our newest Team Top Ten. You may remember we tackled the best directors of the new century in our first episode and each first Tuesday of the month Nathaniel and all the contributors will vote on a new list. This time it’s all about two things I’m sure you all love as much as we do:

...Actresses & Oscar.

This is a list of the greatest performances that lost the Best Actress award. We’ve looked at the pool of 337 performances that were nominated for an Oscar in that category but failed to win and we ranked them in the order of our individual preference, irrespective of the actresses that won in any given year.

It was quite a heavy task, as you can imagine. How would you go about choosing only ten among so many stellar turns? 80 different performances managed to get at least one vote from our contributors. Actresses who have had multiple unsuccessful nominations were generally the victims of an internal spread of votes. Meryl Streep is the most glaring example, of course. Four of her performances garnered votes, but none was popular enough to make the cut. Katharine Hepburn’s performances were similarly divisive, though one of them stood head and shoulders above the rest as you will see below. There were surprising inclusions and even more surprising exclusions but the main takeaway was consensus over performances that have found their place in the critical canon. Only 6 ladies from this new century made the top 30, which is reason to rejoice, in my opinion -- old treasures aren’t forgotten just yet.

Swanson gave good face.

Nathaniel will share runners-up and some juicy trivia and stats because this experiment really deserves a lot more than a list of ten names. For now, however, here are the actresses Team Experience deems the greatest Oscar losers of all time:

THE 10 GREATEST BEST-ACTRESS-LOSING PERFORMANCES
are after the jump...

surprise! Holly Hunter made the list

10. Holly Hunter (Broadcast News, 1987)
Lost to Cher in Moonstruck

"The leads in so many romantic comedies blend together into a blandly likable blur. Not so with Holly Hunter in Broadcast News. She takes the trope of the hardworking professional woman who is great at her job but unlucky in love, and imbues her with a crackling specificity. Far from sanding down her rough edges, Hunter embraces them, from her crying jags, to her stubbornness, to her clumsy grabs at love, to that southern accent she makes no attempt to disguise. Hunter’s Jane Craig topped my ballot because she is the gold standard against which I measure all other romantic comedy performances."
- Michael C.

nine more iconic performances after the jump...

Click to read more ...

Double Indemnity (Pre 'Body Heat' Post Coital)

Hit Me With Your Best Shot Episode 4.8

Double bourbon is fine, Walter."

As a baby cinephile in the 1980s I grew up with Body Heat (1981) as my noir of choice. Before I had any biblical knowledge of my own, I was utterly enthralled by Kathleen Turner's come-hither challenge and roaming hands, William Hurt's 'not-too-smart' insatiable lust and that broken window in a sticky Florida summer. For reasons that seem immature/absurd now, I avoided Double Indemnity for many years afterwards feeling 'I'd already seen it'. Never mind that Body Heat was less a remake than an "inspired by" or that Body Heat's reign as the Best of the Neo Noirs does nothing to diminish the bewitching "rotten to the core" vortex of Double Indemnity's scheming plot and sexual shenanigans.

Different noirs for different eras. But the long shadow that Body Heat cast on my early views of this entire genre is probably why my choice for this week's "Best Shot" is this seemingly minor one from Billy Wilder's 1944 classic. 

Seemingly.

This shot occurs at the end of a long "love scene" early in the picture between Phyllis (Barbara Stanwyck --  the collected Best Shot articles have many insightful comments about this unimproveable star turn) and Walter (Fred MacMurray) as they dance around their sexual and murderous desires. The scene is filled with talking in the shadows -- I could watch Stanwyck plot silently and minimistically for another two hours on loop --  and three bits of physical intimacy, an arm grab, a kiss and a 'comforting' embrace. The scene is then interrupted by a narrative flashforward. When we return to the scheming duo, they're presented to us like so. Phyllis side-eyes her willing rube, gazes at her hands (a repetitive gesture... just how much blood is on them?) and stands up to leave with this bit of disingenuously banal needinees...

will you phone me?

Double Indemnity has many gorgeous shot compositions involving diagonal shadows and I love all of them. But its visual prowess and ideas extends beyond venetian blinds. This is an atypical shot in the film's visual composition because, despite the square frame, it's very horizontal... as befits a post-coital tableau.

Yes, they've 100% just had sex even if they're still in the same clothes as before the flash-forward. We've never seen Walter with his guard this down though Phyllis, inscrutable Phyllis is still the exact same woman. Sealing the deal of this scene's brilliance for me is the costuming and cinematography: Phyllis has never before been clothed in such a tactile way (fuzzy sweaters must have equalled instant boners back in the 40s and 50s); and the lighting choice is provocatively counterintuitive since it's Phyllis, the not so innocent and virginal, who is bathed in soft light while Walter in shadow.

P.S. A runner up...

This shot, from the final confrontation between Phyllis and her conquest, could inspire novels out of context it's such rich and decadent. In context, which is what we should be talking about, it's a triump of both Art Direction and Cinematography; that same living room, which we've returned to multiple times, never feels as sinister in any other shot. The composition also allows Walter's shadow to enter the frame before him, which is telling, and then has both the regretful man and his dark shadow in frame, both separated. It's also my favorite example of Double Indemnity's great use of venetian blind shadows -- usually involving Walter -- and the diagonal tension they bring to each of his scenes withough the film having to resort to anything as crude as canted camera angles.

Straight Down The Link...
Aliston Tooey on Phyllis' spidery web
Amiresque "drive thru beer!"
Antagony & Ecstasy on Stanwyck's unparalleled femme fatale triumph
Cinesnatch this week's film coincides with some Best Picture Oscar revisionism here
Entertainment Junkie loves Stanwyck's satisfaction
Film Actually 'the stillness speaks volumes'
The Film's The Thing 'a messy bit of business in Aisle 3"
I Am Derreck on Walter's double secret life
Pussy Goes Grrr the scorpion and the frog
Victim of the Time considers the 'ugliness' of Double Indemnity
We Recycle Movies talks LA Architecture and venetian blinds

.... or see all the stills in chronological order

Next Week, Wednesday May 8th:
David Lean's Summertime (1955) with Katharine Hepburn in Venice. Join us by selecting your own choice for "best shot"