Beauty vs Beast: Mommie Knows Best

Jason from MNPP here with this week's "Beauty vs Beast," which could be considered a preview of coming attractions (random aside: I can only hear that phrase in Grace Kelly's voice) -- this week's episode of TFE's "Hit Me With Your Best Shot" series on Wednesday is devoted to the camp masterpiece Mommie Dearest, and so are we. I can't help myself. It's perfect for this series too, and somehow we've never asked the question. In one corner you've got Christina Crawford (played by Mara Hobel as a little girl and Diana Scarwid as a not-so-little girl), adopted daughter and axe-bringer. In the other corner you've got legendary movie star and crazy person Joan Crawford, played by legendary movie star (and perhaps also a crazy person - I have heard stories!) Faye Dunaway, giving a great, dedicated performance - I won't hear a word about her being "bad" in this movie. Not a word of it! On the one hand I'll grant you that it's awfully hard not to side with an abused child... but on the other hand, come on! Who are you watching this movie for???

Whose team are you on?

Team Christina

Team Joan

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PREVIOUSLY Last week we climbed inside the brains of Charlie Kaufman & Spike Jonze and oh yeah Catherine Keener for her birthday with a Being John Malkovich round, pitting Keener's caustic Maxine against Cameron Diaz's desperate Lotte - ultimately it was Cathy's brilliantly sleek sarcasm that won the day with just over 60% of the vote. Said Mr. Goodbar:

"Team Maxine. She is cut of the same cloth as Linda Fiorentino's from The Last Seduction: a misanthrope with irresistible charm and wit, except she finds love and changes whereas Fiorentino just stays on course to become a psychopath."

i've been linking i've been linking why cant i keep my blogging off it, baby

They Live By Night amusing Noah anecdote with Robert Bresson and Dino de Laurentiis
AV Club Masters of Sex starts again in July. Wow, that was quick. Pleased I am.  
My New Plaid Pants have you seen this inexplicable trailer to Bad Johnson. Cam Gigandet's career is so weird 
Variety Jon Chu to direct Jem and the Holograms live action modernized version 

The Wire It's Time to Kill "Happy" - how the Oscar nominated and still #1 Pharrell tune overstayed its welcome 
Guardian Charlie Kaufman lining up film stars for his "How and Why" TV pilot: Catherine Keener, Michael Cera, John Hawkes, and now Sally Hawkins 
In Contention thinks these are the 20 best Fox Searchlight movies as they approach a big anniversary. They are a great company
/Film collects all the Mad Men Season 7 promos in one place which is helpful, though still unrevealing. I love that Weiner refuses to budge on spoilers, even in "next week on..." and has since the start. Though I do think this season is going to be L.A. heavy if I were guessing
Cinema Blend why Marvel might start killing off their big heroes at the movies in Phase Three
Towleroad Madonna unveils new skin care line "MDNA Skin" 
i09 names the 12 worst muppets, apparently in hopes they don't have screen time in the new film 
Film School Rejects 6 filmmaking tips from Lars von Trier 

Today's Watch
Louis Virtel uncovers 44 reasons for the earthquake in Los Angeles

My favorites are: 1, 4, 11, 15, 19, 29, 30 and 34

#19. Jonah Hill has as many Oscar nominations as Vivien Leigh."

Team Top Ten: Best Directors of the 21st Century

Steve McQueen didn't make the list but Fassy still loves him (as do many of our contributors)Amir here, to bring you the first edition of Team Top Ten, a communal list by all of Film Experience’s contributors that will sit in for our regular Tuesday Top Ten list once a month. For our first episode, we’ve decided to rank the best new directors of the 21st century. These are all directors who have made their first film after 2000. (Short films, TV and theatre work didn’t render anyone ineligible. Only feature length fiction and documentary films were considered.)  

I had a blast compiling the 18 lists of our contributors to arrive at the final ten because their submissions were incredibly eclectic and surprising. I’d made a bet with myself that Steve McQueen (Hunger, Shame) would top the list, and lo and behold, he failed to make the cut altogether, though by a very fine margin. Korean director Bong Joon Ho was also left off, despite showing up on more than a handful of lists. Jason Reitman, Joshua Marston, Rian Johnson and David Gordon Green all came very close too but this was a tightly contested race, evidenced by the three-way tie for our tenth spot. Overall, 71 directors got at least one vote. We travelled all the way from Japan to Portugal, from Greece to Mexico, via documentaries, comedies and superhero films. We loved stories about Muslim families, gay romances, World War II and the beautifully painted worlds of Sylvain Chomet. What we didn't like very much turned out to be actors-turned-directors, as current Oscar champ Ben Affleck got only a single vote, and George Clooney and Tommy Lee Jones failed to manage even that.

In the end, these are the twelve men and women Team Experience considers the best (thus far) of the 21st century crop:

=10. Michel Gondry
Human Nature, Eternal Sunshine, The Sciene of Sleep, Block Party, Be Kind Rewind, etcetera

Gondry's films are shaggy fantasies powered by a boundless imagination. They're more than a little goofy, speaking quirky as if it were a language, and they have an endearing handmade quality, with their maker's fingerprints visible around the rough edges. Bent as they are toward romance and optimism, Gondry's miniature worlds provide a little solace from reality.
- Andreas Stoehr

11 more directors after the jump

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Burning Questions: Is Michel Gondry Lost In The Clouds?

Kate Winslet with Michel Gondry filming Eternal Sunshine Michael C. here back with the return of Burning Questions, the weekly column where I answer all the most pressing film issues of the day, and, more importantly, address whatever is rattling through my head at any given moment. It’s a pretty sweet gig. First up is a growing concern I've been nursing for one of our best filmmakers.

If I hadn’t known the Mood Indigo trailer was for the new Michel Gondry film I might have wondered if it was an incredibly skillful satire. Like those spoofs that show films directed in the deadpan style of Wes Anderson it plays like an exaggerated showcase of all the director’s idiosyncrasies. The tone of melancholic whimsy. The frequent detours into magic realism. The loving devotion to the handmade over the slick and polished. The presence of Audrey Tatou in particular seems specifically engineered to provoke a chorus of cooler-than-thou Internet smart-asses to point fingers and shout “Twee!” “Twee!”

Twee, clouded?

I hold Gondry in high esteem and unashamedly enjoy his all the quirks listed above, but at some point you have to ask: Is Gondry ever going to come back down to Earth?  Currently Eternal Sunshine of the Spotless Mind sits in the middle of Gondry’s filmography as a glorious anomaly... [more]

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Distant Relatives: 8½ and Synecdoche, New York

Robert here w/ Distant Relatives, exploring the connections between one classic and one contemporary film.

Portrait of the Artist as a Confused Man

Perhaps the idea of a filmmaker making a film about himself, his fears, his hopes, his life, is inherently self-indulgent. It's hard to argue otherwise though self-portraits have always been a staple of art. Perhaps Da Vinci and Rembrandt were self-indulgent too. Still, something about the self portraits is so necessary. Someone has to explore the life of the artist. Biopics, whether celebratory or critical, are often too structured and viewed from outside looking in. Only autobiographies allow the filmmaker the ability to really explore their internal rot. The cinema this creates may not always be compelling but it always feels essential. Federico Fellini's career is saturated in self-exploration, from the continual casting of his wife Giulietta Masina (La Strada, Nights of Cabiria, Juliet of the Spirits), to his reminiscence on his childhood (Amarcord) to his contemplation on the de-evolution of social ascencion (La Dolce Vita). Fellini's career is a tribute to himself, and never more than in 8½, a film so self-referential that its title is devised from the number of films Fellini had made to that point. It is his eighth and a half. Charlie Kaufman's career too is filled with expressions of his own desires and anxieties. He sees his life as that of the impotent artist, and they appear throughout his films in one form or another. The fact that Kaufman had already written a film, Adaptation that featured himself as the lead character (writing a film that featured himself as the lead character) shouldn't detract from the fact that Synecdoche, New York's Caden Cotard is very much a Kaufman stand-in. In fact, Adaptation's use of Kaufman as character may have even freed up the real Charlie Kaufman into a more subtle (if that's possible) cypher for the later film. Adaptation feels a bit like a warm up for Synecdoche, New York with its musings on love and death and the meta-realities of art. Both titles refer to the artistic process as well (self-referentially like Fellini's). Adaptation is obvious. As many of us learned only upon the relase of the film, a "synecdoche" is a part of speech where a part of something is used to represent a whole, such as saying "threads" to mean "clothes" or "set of wheels" to mean "car." And so it is with art, the attempt to use one small story to represent some truth about the whole of existence.
 
In both films, 8 1/2 and Synecdoche, New York we begin with a misanthrope, unwell in health and heart, about to embark on the ultimate boondogle of his career, whether he knows it or not. Continue...

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