The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
Follow TFE on Substackd
We're looking for 500... no 390 Subscribers! If you read us daily, please be one.
THANKS IN ADVANCE
Saturday, December 28, 2019 at 6:00PM 
For no reason at all lets celebrate Bette Davis, one of the shiniest stars ever to grace the silver screen. Our love for her knows no bounds. Who else can make a movie about wearing a red dress instead of a virginal white one as riveting as did Jezebel (1938)? Can you imagine loving movies, actresses and movies about actresses without also loving Bette in All About Eve (1950)...
Wednesday, November 1, 2017 at 9:01AM by Nathaniel R
It's time for your morning dose of highly unneccessary Oscar-mad trivia.
Did you know that Bette Davis, Oscar's third favorite actress of all time (after Hepburn & Streep), had exactly 123 screen credits to her name?! Her debut film The Bad Sister (1931) was released a week before her 23rd birthday and her 123rd and final project, Wicked Stepmother (1989), was released eight months before her death of breast cancer at 81. That's 58 years of big-eyed, inimitably voiced, ferocious performances.
Two Bette-inspired questions for the day...
Thursday, April 17, 2014 at 2:00PM Seasons of Bette had a headache last week but is feeling much better now, thank you. Herewith, your catch-up episode on Dark Victory (1939)
it was the ghastliest feeling, everything went fuzzy.
Fallen out of order, have I. That's awfully dreadful of me given that the great revelation of both Anne Marie's brilliant A Year With Kate and my own intermittent Seasons of Bette series is that you can actually watch a movie star grow in power and nuance and embrace of their own specificity if you watch their films chronologically.
This is true, at least, of the studio system where stars were invested in for the long haul rather than dabbled with for a few months at a time if agents, lawyers, producer, directors and stars could agree on a one-time contract. The old system had its drawbacks of course, giving thespians less agency in their own filmography and less ability to test their range in different genres and with left turn character types. Despite that, and even because of it, it was uniquely ideal soil for the true movie stars to grow like majestic redwoods. You know the kind of superstar I'm talking about: they are emphatically always themselves no matter how well they play any particular character. [more...]
Wednesday, February 27, 2013 at 12:00PM SusanP here, with thoughts on the season (series?) finale of Bunheads. A lot is at stake in the episode, but as in real life, not much is fully resolved. I’ll be disappointed if this turns out to be the last episode. Not because it was a bad, but it was anticlimactic for a finale. I’m anxious to spend more time in this world with these characters. I’d hate for this to be the last hour I get.
This Week on Bunheads…
A couple of weeks ago, TFE commenter Denny noted that Bunheads is in many ways a show about what happens when an extremely talented person doesn’t catch a break and make it big. Denny wrote:
I like to think of Michelle as an alternate universe version of Sutton Foster - one in which she's almost exactly the same (except for focusing on dancing more than singing) but somehow always manages to be in the wrong place at the wrong time to make it the way Sutton has. And this feels very true to me. Growing up in the theater world, I cannot tell you how many supremely talented people I know who have just never made it, and not through lack of trying. This thread of "what does a talented person do when they just don't make the big time?" is one of my favorite parts of the show.
Potential can only get a performer (or a person) so far in life. The show tackles this idea head-on in “Next!” [more after the jump]
