Barbara Stanwyck: Comedy Goddess

by Cláudio Alves 

Despite being one of Old Hollywood's most electrifying actresses, Barbara Stanwyck feels somewhat forgotten (apart from cinephiles) when compared to her contemporaries like Bette Davis, Joan Crawford or Ingrid Bergman. The one role that arguable does keep her immortal with the mainstream is the devilish Phyllis Dietrichson in Billy Wilder's Double Indemnity, the noir to end all noirs starring the greatest femme fatale of them all. Still, to believe that Stanwick was essentially a noir vixen is unfair to her grand legacy. More than many actresses of her time, she rejoiced in hopping from genre to genre, unencumbered by exclusive contracts to studios that might want to pin her down to one type of role. 

Because of that, she was able to experiment with the extremes of Pre-Code libertinism (Baby Doll), weepy melodrama (Stella Dallas), historical epics (Titanic), tragic romances (There's Always Tomorrow) and even camp classics (Walk on the Wild Side). Her tonal flexibility was unparalleled as she was able to mold her trademark toughness and sexual confidence into almost any role conceivable. She was much more than just the venomous Mrs. Dietrichson, even though that is one of her greatest achievements. I'd go so far as to say that she was one of the great comediennes of her era, on par with Irene Dunne, Carole Lombard, and Jean Arthur. Just take look at her second Oscar nomination…

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All hail the great Glenda Jackson!

by Cláudio Alves 

50 years ago, Ken Russell's Women in Love was released in US theaters after having already opened in the UK the year before. Accusations of obscenity and licentiousness followed the picture across the Atlantic and, as it usually happens, polemic was a good catalyst for popularity. Nowadays, such arthouse offerings rarely get mainstream attention but the America of 1970 was a different place as far as moviegoing was concerned. In a time of radical change in society and tastes, Women in Love's tale of bohemian affairs, sexual candor and class hierarchies in 20s England was warmly received by critics and audiences alike. The performance of Glenda Jackson was of particular fame and catapulted the actress to the pantheon of celebrity.

So much so that, by April of 1971, she won the Oscar for Best Actress. To this day, it's one of the weirdest victories in the category's history…

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Oscar Category Fraud, By the Numbers

by Eric Blume

A few days ago, my fellow TFE writer Claudio flagged a website www.screentimecentral.com, which tracks the screen time and percentage of all Oscar nominees and winners.  Because Oscar category fraud has long been a heated debate here at the site, I thought it might be fun to play with the numbers on the site from the last 20 Oscars, to see what we might discover if, say, AMPAS instituted a time/percentage rule on who could be eligible for lead and supporting performances.

Now for those about to go crazy in the comments, settle down.  This is just a fun game.  We’re not suggesting there should be an implemented rule, but for the sake of stirring up a healthy, positive conversation, I’ve broken down some of the numbers, and it reveals a lot of interesting things...

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Emmy Watch: Regina King in "Watchmen"

by Eric Blume

We here at TFE are big fans of Regina King, as you know.  She’s been performing in the business for over 35 years, and has weathered career ups and downs as all good working actors do. She's risen to the top of the field in the last few years with three Emmys for very interesting and strong roles in TV. 

Personally, I had split feelings about her Oscar win for Best Supporting Actress last year for If Beale Street Could Talk.  As a fan of her and her work, I was thrilled to see Regina King get an Oscar.  But I found Beale Street to be heavy-handed and unconvincing, and the movie gave her too few notes to play.  She brought everything she could to the role and the film, but it would have been more thrilling to see her win for a juicy, complex role.

Which makes what Regina King does on Watchmen so exciting...

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A 'Blue Jasmine' Bonanza

by Murtada Elfadl

Over at Sundays With Cate, my podcast series about the films of Cate Blanchett, I just finished a three part miniseries about her Oscar winning performance in Blue Jasmine (2013). Something I thought The Film Experience readers might enjoy so I’m sharing with you. Here are some details about the miniseries:

Actor as Auteur

In part one we discuss Cate Blanchett as the real auteur of Blue Jasmine, and the many ways her performance makes her the author of the film.

The “Streetcar” Allusions

In part two, we talk about the similarities to Tennessee Williams’ A Streetcar Named Desire, the character of Blanche Dubois clearly is the blueprint for Jasmine. The many actresses who played Blanche - including Blanchett herself in a production of Streetcar directed by Liv Ullman - or were inspired by her. From the women in Pedro Almodovar’s movies to Gena Rowlands in A Woman Under the Influence (1974) to most recently Carey Mulligan in Wildlife (2018).

Jasmine and Her Sisters

And in the final part we discuss Jasmine and her sisters within the Woody Allen oeuvre. Annie Hall, Helen St Clair in Bullets Over Broadway (1994), Maria Elena in Vicky Cristina Barcelona (2008) and Cecilia in The Purple Rose of Cairo (1985), among others.

Those episodes are now available wherever you listen to podcasts or at Sundays with Cate. Let me know what you think?