Entries in Chicago (18)
Film.com Excellent piece on the online coverage of Lynne Ramsay's no-show on Jane Got a Gun. There's just so much default anti-woman rhetoric online. Crazy that this rarely ever improves.
Slant Magazine Our friend Kurt recently visited Las Vegas and its glorious gawdy movie memories came with
AV Club Might HBO let people buy HBO Go without a cable subscription? That's such a good idea. A ton of people I know have dropped cable (too expensive) altogether since they use their computers more than their TVs. I would if I could, too.
Film.com strong list of 50 best opening sequences in movies ever. Love the inclusion of Cabaret, La Dolce Vita, and Manhattan. Bonus points: you don't have to click 50 times or even 5 to see the whole list.
MovieLine the opening credits of Oz: The Great and Powerful. I knew these would show up soon. Best part of the movie, easily showcasing charm, creativity, and wit.
CHUD "Hey girl... NO GIRL, PUT DOWN THE GUN!" Ryan Gosling is quitting acting for awhile
Empire Robert Redford could join the Marvel Universe starting with Captain America 2. (He would'a made such a great Captain America back in the 60s)
Timothy Brayton adss another toughtful thumbs up review to No's increasingly large critical pile. Seriously, what are you waiting for? Best movie of 2013 thus far.
Coming Soon Wentworth Miller conitnues on as a screenwriter post Stoker. He'll adapt the thriller novel Scare Me.
Art & Toons
Wimp.com a really amazing video about early animation process at Fleischer Studios. It's so crazy how much factory like manpower and technical innovation went in to things that are so computerized now.
i09 a neat very short animated cartoon on Marvel iconography from X-Men to Captain America
And... How webcomix make money, illustrated with 8 bit animation - thanks to Drawn for pointing it out
[Editor's Note: You know "Denny" well from the comments section. Since he's a choreographer by trade, I asked him to sound off on Dance in film. Particularly on Chicago since its win was so strangely celebrated at this year's Oscars making the show a weird mix of 2012 & 2002. Take it away, Denny. - Nathaniel R.]
Oh, how I remember the cheers.
I was at an Oscar party with a group of theater friends ten years ago when Rob Marshall’s Chicago became the first musical in thirty-five years to win the Oscar for Best Picture. It’s easy to see why everyone was excited: Following Moulin Rouge! (and to a lesser extent, Hedwig and the Angry Inch) the year before, it was clear that Hollywood was finally interested in live-action musicals not aimed at children again. There hadn’t been a major live-action Hollywood musical aimed at adults since 1996’s divisive Evita, and before that the last one was 1986’s Little Shop of Horrors. The last to receive major awards attention was 1982’s Victor Victoria (or 1983’s Yentl, depending on your definition of “major awards attention”), and a musical hadn’t won the Oscar for Best Picture since 1968’s Oliver!, a much-derided winner in a year that actually saw two musicals nominated for Best Picture (the other being Funny Girl), if you can believe it. more...
On this very day in 1938, 75 years ago, the Academy of Motion Picture Arts and Sciences met for the 10th time to honor the films of 1937. There was still no television to compete with but that also meant no televised ceremony. Which is too bad really because how great would it be to see one of Oscar's very oddest anecdotes happening "live"? According to legends, though the legends conflict either an Alice Brady impostor or a impostor Brady representative accepted the trophy which was never recovered! Drama. What then? Either the statue was replaced 12 days later or the more dramatic the statue was never replaced. This much is true: Brady, the second winner of this then brand new category, died a year and a half later at only 47 years of age.
In Old Chicago
Alice Brady plays the matriarch of the O'Leary clan (anniversary aside, since we're approaching St. Patrick's Day, it felt like appropriate viewing). After the father dies in a dumb luck tragedy on the way to the big city in 1854, dragged to his death by runaway horses, widowed Brady raises her three sons alone in the rapidly rising city described in the title cards as "a fighting, laughing, aggressive American city". Within seconds of arriving she makes a name for herself as a talented laundry woman.
Two of her sons become major power players, one an honest crusading lawyer (Don Ameche), the other a charming playboy (gorgeous Tyrone Power) with a taste for money and women of questionable provenance.
Yes, by all means Tyrone, find a reason to get your shirt off...
Topics include but are not limited to:
- Musical Performances: Adele, Shirley Bassey, Babs, Jennifer Hudson, and Catherine Zeta-Jones's Jazz
- Future Nominations or Backlash for the winners: Christoph Waltz, Jennifer Lawrence or Anne Hathaway?
- Ben Affleck's speech
- Can Michael Haneke ever return?
- What were the best reaction shots and when did we do our best reaction shots from home?
- On Naomi Watts' career choices and Oscar's love of "it" girls
- Documentary and Costume Design
- Seth Macfarlane versus Jokes and Musical Theme
- Emmanuelle Riva cutaways
You can download the podcast on iTunes or listen right here at the end of the post.
All That (85th Oscars) Jazz
The Big Night: Fun Arrivals, Winner's List, Jennifer Lawrence in the Press Room
The Look Back: Seth's Hosting, Funniest Tweets, & This Podcast
The Fashions: Fifteen Men, The Ten Nominated Ladies, Goodbye Glamour
Have you heard that The Academy is going to honor the renaissance of the movie musical with tributes to Chicago, Dreamgirls and Les Miz during the ceremony on February 24th? I'm never been that big on amorphous "tributes" which usually come in the form of sloppy montages at the expense of time celebrating either specific grand careers (lifetime achievements) or actual nominees. And I can't quite see what the through line is between those three pictures (as opposed to any other modern musicals). But you know I love musicals. Still... this makes precious little sense to me, not when you have a decent current lineup of Original Song nominees you could focus on for once. And not when you're only focusing on three films, two of which had little to do with the musical genres resuscitation.
Everyone knows (or should come to understand) that it was the one-two-three-four punch of Disney's resurrection (The Little Mermaid + Beauty & The Beast) + Dancer in the Dark + Moulin Rouge! + Hedwig and the Angry Inch from 1989-2001 that reopened the musical floodgates artistically and reminded everyone "ohmygod... look what this versatile genre can do!!!". Chicago (2002) then was the behemoth that came charging down that road that had been pre-paved for it by stronger films, despite how grandly entertaining it was, to claim the trophy for the whole genre.
At any rate the strangest exclusion from their planned tribute is surely Moulin Rouge! which had, if you'll recall, just as many nominations as both Les Miz and Dreamgirls (I guess 8 is the magic number for non-BP winning popular musicals), starred people who are still very much in the cultural conversation, and is already widely regarded as part of the new canon. That's something that none of the three films Oscar is planning to rehonor on the ceremony can quite claim... no, not even Chicago.