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The Film Experience™ was created by Nathaniel R


 Gemini, Cinephile, Actressexual. Also loves cats. All material herein is written and copyrighted by him, unless otherwise noted. twitter | facebook | pinterest | tumblr | instagram | letterboxd | deviantart 

 

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Entries in gender politics (122)

Monday
Aug312015

Pt 1 Smackdown Xtra: High & Mighty Executive Suite

Nathaniel (your host) welcomes Brian Herrera (aka Stinky Lulu), Mark Harris (Grantland and EW) Anne Marie Kelly (The Film Experience), Manuel Muñoz (award winning writer) and Todd VanDerWerff (Vox) to the podcast for a Smackdown conversation. To flesh out our thoughts on the 1954 Oscar Battle (we trust you've read it now?) and expand the topic to include the four films themselves, and where Hollywood's head was, here is our 80 minute conversation in two parts.

Pt 1 (40 minutes)
00:01 The High and the Mighty and the birth of both DeGlam and the Disaster Epics. With shout outs to The Love Boat (?), Airplane, and Grand Hotel
21:45 Executive Suite, experimental filmmaking, and trusting the patriarchy.
36:40 Marlon Brando and New Acting Styles. Post World War II / Pre Something Else.

PART 2 WHEN YOU'RE READY

You can listen to the podcast here at the bottom of the post or download from iTunes tomorrow.  Continue the conversation in the comments. For fun I thought I'd include this video of Nina Foch (An American in Paris), our Smackdown runner up, discussing her Oscar nominated role in Executive Suite. The pencil necklace was her idea! Thank you to reader David Q. for pointing it out to Nick who sent it along to me.


 

Pt 1 Smackdown: The High and The Mighty

Friday
Aug212015

Is "Notorious" Hitchcock's Only Feminist Film? 

Welcome back to our Ingrid Bergman Centennial... we accidentally took a week off. Here's Deborah on Hitchcock's Notorious (1946) - Editor

Notorious is Hitchcock’s only feminist film, and Alicia Huberman, as played by Ingrid Bergman, is the only Hitchcock heroine rewarded, rather than destroyed, for her sexual agency. Notorious pairs a tramp, which is what Alicia calls herself, with a misogynist, as Cary Grant’s Devlin says he’s always been afraid of women. Alicia, then, is not fighting Nazis, she’s fighting the patriarchy and its misogynist attraction/repulsion for female sexuality. 

Everyone knows that Hitchcock coined “McGuffin” to mean the thing that everyone in the film cares about, but no one in the audience cares about. The example generally used is the radioactive sand from Notorious. But I’d argue that the entire Nazi plot, in fact World War II as a whole, is the McGuffin. This is a love story, a sex story, an awakening story, and, yes, a feminist story. [More...]

Click to read more ...

Monday
Jul272015

Podcast: Ant-Man and Southpaw

We're spoiling you with two podcasts this week. Yesterday we talked 1995 (to tease the Smackdown). Now, conversations about Marvel's Phase Two ender Ant-Man with Paul Rudd, Evangeline Lily, Michael Douglas, and Michael Peña, and the new boxing drama Southpaw starring Jake Gyllenhaal and Rachel McAdams.

Contents (43 minutes)
00:01 Marvel's Ant-Man
27:55 Antoine Fuqua's Southpaw
40:00 Coming Attractions: Mistress America & The Finest Hours


You can listen to the podcast here at the bottom of the post or download from iTunes tomorrow. Continue the conversation!

Southpaw & Ant-Man

Monday
Jul202015

We can discuss sexism in comic book movies when you get back from the theater.

Saturday
Jul182015

Misc: Silly Villains, Prequel Genies, Naughty Droids, Creepy Dolls

AV Club Parker Posey cast in Woody Allen's next film. Here's hoping she can graduate to lead muse
Variety Miramax and its 700 film library (all of which were Oscar nominated in the 1990s*) are for sale. Potential buyers balking at the $1 billion price tag.
Guardian Emma Stone on being "the butt of jokes" and learning about whitewashing in Hollywood through that Aloha fiasco of hers

 

Empire Aladdin added to Disney's growing 'let's make live-action movies based on our animated library' list
Joanna Robinson ...offered my favorite response to this 
Variety Julianne Moore leaves Nicole Holofcener's Can You Ever Forgive Me? - replacement seeking commence (10 bucks on Catherine Keener cuz that's how Holofcener do)
Coming Soon David Gordon Green will direct a Boston Marathon bombing related film with the extremely generic title of Stronger
Harpy annoys me with this article asking us to excuse bad character design in X-Men movies if the movie turns out OK. Let's not lower our standards shall we? 
The Wrap Star Wars unhappy with Amy Schumer's risqué GQ photoshoot 
Screencrush realizes that every Marvel villain is essentially the same guy 
Salon has Hollywood reached a tipping point with sexism? More and more A listers speaking out

Long Read
This piece from The Telegraph won a lot of online attention. It looks back at the then unique Sky Captain and the World of Tomorrow (2004) and how the filmmakers (Kerry Conran and Kevin Conran) were immediately forgotten by Hollywood despite their process becoming enormously influential.

...and ICYMI Tim's Toons also revisited this Visual FX landmark last year for its 10th anniversary

Off Screen
The Cut "what open marriage taught one man about feminism" - I would argue that this is not about feminism at all BUT it is about one couple's complicated relationship and it's interesting to hear intimate things about people's private lives that you're not usually privvy to. What's even more fascinating (if depressing / expected) is how defensive and hateful the comments are. People just can't handle anything that challenges the norm without excessive judgement - it terrifies them, they lash out. We've seen this over and over with every social battle... and also with every argument about what "marriage" means. Marriage has such a fraught complicated evolving history in legal, political, sexual, religious terms that it's hilarious that conservatives are always claiming that it's this great unchanging sacred monolith since the days of Adam & Eve. 
Smithsonian has a history of creepy dolls
The Verge 'the trolls are winning the internet' - you don't know how often I'm grateful to most of you in our comparatively pleasant comments here at TFE
Pajiba asks that you stop writing, reading, publishing thinkpieces if the people writing them have not seen the thing they are writing about (it's an epidemic, really in this clickbait era) 

*I'm kidding but it feels true. 

Friday
Jun262015

Rose's Turn

Remember Rose McGowan?

We haven't seen much of her on the big screen in the past few years (her most recent feature was the Jason Momoa led reboot of Conan the Barbarian in 2011, which is unfortunate since we would have much rather seen her proposed reboot of Red Sonja). But the Charmed actress, who broke out in the mid 90s with memorable turns in The Doom Generation and Scream, is in the news again.

A recent twitter comment about her former agent and Hollywood sexism has pushed several buttons but more importantly she's been out promoting her new role behind the camera. She is developing a feature and she's also made a short film.

Here's her short Dawn that's hitting Oscar-qualifying festivals and is available in full on YouTube. 

Saturday
Jun202015

Sorry, Wrong Number (1948)

Please welcome Kyle Stevens to The Film Experience team. You've previously heard him on the podcast, you can pre-order his book on Mike Nichols, and you should follow him on twitter as he is delightful. - Editor

Adapted from the hit radio play by Lucille Fletcher (who also wrote the screenplay), Sorry, Wrong Number follows Leona Stevenson, a headstrong young heiress who aims to one day be the sharpest battleaxe in the armory. She is also an invalid, relegated to her bed. We discover Leona telephoning inquiries into her husband’s whereabouts when the line fatefully clicks. She overhears a conversation between two men plotting a murder that night. For me, the whole movie hangs on the image of her listening to this narrative catalyst. It hovers over the entire film. Its power lets us never forget that this is Leona’s story, even when we get elaborate flashbacks from others. We recall it later when we see Leona disheveled and shining from tears and anxious sweat. Its tightness contrasts with the way the camera later wanders in and around people, tracing the distances between them that the telephone extinguishes. 

The magic here is all down to Barbara Stanwyck, giving one her best performances (and receiving the last of her four Best Actress nominations). We see Leona’s selfishness ebb as she intelligently listens to the heavies on the line. That is, Stanwyck doesn’t play an inner monologue. Her bright brown eyes and horseshoe furrows do not propose “Oh no!” and “What should I do now?”, as though telling us what Leona wants to say. Rather, Leona, in this moment, and for a change, is not about herself at all. She just listens. This remains a thing of beauty, reminding us how much intelligence just listening can demand. I don’t know of a better demonstration of the cliché that listening is one of those feats accomplished by only the best actors.

Written by a woman and showcasing a female character who fights for what she wants, Sorry, Wrong Number would probably be received as a feminist statement were it released today. But in the moment in which Leona hears unheard, I am reminded that it is not just the film’s gender politics that remain relevant. Over the complex lines of a switchboard (where, according to Hollywood, women controlled the flow of information), the epigraph warns:

In the tangled networks of a great city, the telephone is the unseen link between a million lives… It is the servant of our common needs—the confidante of our inmost secrets…life and happiness wait upon its ring… and horror…and loneliness… and death.”

The technology behind our phones may have changed, but in an age where we’d rather text than talk, we seem to still fear verbal connections. We worry about who’s listening, and we know, deep down, that the voice can give too much away.

Previously
Vintage 1948 - Best of the Year 
Supporting Actress Smackdown - The Schedule