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.)
TMZ life imitating art - Shawarma sales skyrocketing in LA after The Avengers opening. Coming Soon has a new photo from the set of Les Misérables. I'm choosing to interpret this set as an homage to Moulin Rouge!'s greatness Acidemic would like you to know that 1933, not 1939 was the greatest year at the movies. Playlist Maybe Edgar Wright is going to make that Ant-Man movie after all.
Antagony & Ecstacy looks back at Ang Lee's Hulk (2003) in the wake of the new green giant fever sweeping the nation. Really interesting piece. In Contention Gene Kelly centennial tribute hosted by the Academy next week in LA. Someone go and tell me all about it. We'll celebrate his centennial here in August (the actual month of his birth) Movie|Line Jessica Chastain finally passes on a movie. Hee! SuperPunch has photos of Wal-Mart's The Avengers set. I include this only because its rabidly sexist. I believe when the camera spun around the heroes in that highly publicized shot it was The Black Widow and not Loki who was part of the heroic team. (sigh) Kenneth in the (212) Fun couples: Woody Allen and... Lindsay Lohan?
P.S. This is the best thing that Kate Beckinsale has ever done.
Off Cinema. It's sometimes worth stepping out of the movie theater. Rarely but still... The Realist for those of you who've spent too much time on Facebook Playbill weirdest music news of the week. Twisted Sister's Dee Snider recording an album of showtunes with Broadway friendly guest stars
Olsen's fond memory: meeting Michelle Pfeiffer on the set of "I Am Sam"Seems that Elizabeth Olsen, currently Oscar buzzing for her performance as a cult member in Martha Marcy May Marlene, shares not one but two favorite movie stars with The Film Experience. In this recent interview with THR's Scott Feinberg she's asked about favorite films and her idols growing up. Her response:
When it came to the first actors I idolized it was Gene Kelly and Frank Sinatra. The first actress that I really loved when I was probably ten was Michelle Pfeiffer. I was completely in love with her and I actually got to meet her on the set of I Am Sam.
She wouldn't have remembered that but I was -- it was my first time I remember being speechless as a kid because always I was speaking. A girlfriend in my class --- her uncle did her hair for I Am Sam. That was exciting.
Ahhh, Kelly and Pfeiffer? She has good taste, she does. Can't wait to see Martha Marcy May Marlene. Very soon my hungry eyes will gobble it up at the NYFF screening.
Should you care to see the whole interview you can do so after the jump
Ultra Culture "the stills photographer is here? fetch me my viewfinder at once!" HEE Movie|Line on the weirdly surprising colors of the new EW issue featuring The Help. (More on this film right here very soon.) Wet Asphalt "how to write a book in three days" regarding Michael Moorcock (of Elric of Melnibone fame. Weird that Hollywood's never managed to make that into a franchise) Scott Feinberg thinks The Artist will be a good case study for Oscar. Will a silent film catch on in today's marketplace? lemonwade doesn't mind the lack of Supes' spit curl but don't get him started on those cape pleats. Show BlitzGame of Thrones director Brian Kirk in discussions to helm Thor 2. er... i worry about this. Thor's saving grace was its humor and Game of Thrones biggest problem as a series is its humorlessness (believe me the book has humor... admittedly of the gallows kind. But still) Scene Stealers h-a-t-e-s on The Change-Up consider this opening bit about that trailer moment where infant poo flies at Justin Bateman's face.
I know how Dave feels. In its opening moments “The Change-Up” took a dump in my mouth, and did not relent until the credits rolled.
Ouch. But then the film really does look terrible. Let me know if you see it and can verify.
Anomalous Material top ten movie roles Lady Gaga could have played. (I myself suspect she cannot act. But I'll hold my tongue.) Socialite Life look i love Neil Patrick Harris but should he and David Burtka really be yachting with Elton John? Shouldn't NPH be doing penance for Beastly and The Smurfs? And by penance I mean: searching tirelessly for scripts that are actually worthy of his talent? Because, awards-show hosting aside, isn't it going to waste?
Unearned vacation! Find a good movie NPH.
Off Cinema Daily What "Internet Filtration System" I'm lol'ing despite the fact that i've screwed this up myself in moments of speed typing. (sigh) Tom Shone wonders if Sarah Palin is suffering from post-traumatic stress disorder. It sounds far-fetched until you actually read what he has to say. The Onion "Obama Turns 50 Despite Republican Opposition" hee.
It's amazing how a change in hairstyles affects your perception about someone. People don't talk about this but that's the #1 thing that's most depressing about losing your hair -- if you're someone who is visually oriented that is -- it really cuts down on the number of ways you can modulate your own look and persona. I am my hair ♪
Judy Fest Stirred, Straight Up With a Twist has a detailed look at The Pirate, which is one of the films I sadly missed at the current Judy Garland retrospective here in NYC. Weirdly I've never seen it despite the fact that Gene Kelly and Judy are both among my top dozen or so favorite movie stars of all time. I absolutely disagree with the comments about Gene Kelly's screen persona though since they directly contradict what I wrote in my For Me and My Gal review about his sexual allure. Enthusiasm has notes on the The Pirate and its camp value. Towleroad In this week's column I wrote up a short bit about Presenting Lily Mars (1943) which is my new favorite that I hadn't yet seen from the Garland canon. Let's raise this film's profile, people. It's really funny and quite fresh. I was tempted to slap it in the face and then take it to bed like some prim but randy 40s heroine. Loved Van Heflin in it.
Bless the Walter Reade theater and The Film Society of Lincoln Center. This summer has been so trying in so many ways, but the Judy Garland retrospective is bliss. It helps that the Walter Reade is such a great place to see older films what with great air conditioning, comfortable seats and a big screen. The same can't (unfortunately) be said for the other prime NYC HQ for cinephiles (Film Forum). Anyway, people often think of Judy as an icon of tragic catharsis: heartbreak voice, trembling gesture, short life... but then you see the movies and she's just got charm for miles, a full range from light touch to direct hit, and she's funny and dazzling. Watching her proves far more joyous than tearful though sometimes the two come together.
I caught two consecutive features earlier this week from the brief moment between her ascendance (Dorothy Gale + allthose Mickey Rooney pictures) and adult superstardom (Meet Me In St. Louis). Both pictures were made around her 20th year, as she left teen stardom behind.
For Me and My Gal (1942) This was the first of Judy Garland's three pairings with Gene Kelly (and his film debut!) and the first picture where she alone was billed above the title, indicating Hollywood's new confidence in her bankability. It's a period piece with Gene & Judy playing low rent vaudeville act "Palmer & Hayden". They're attempting to up their game and become headliners at the Palace (New York) just as Judy's brother and all able bodied young men are being shipped off to World War I. Palmer (Kelly) doesn't want to go when the draft hits him and this relentless career drive looks like cowardice and lack of patriotism to everyone including Hayden (Garland).
Two of the movie musical's greatest bond over song and dance. It's a little bit like that famous scene in ONCE (2007) actually, a kindred spirit discovered at the piano.
The film peaks quite early with the title song, a thrilling example of what modern musicals are always forgetting: songs are supposed to move the story along! "For Me and My Gal" was an old standard at the time -- this is essentially a jukebox musical like Singin' in the Rain -- but it's used as a plot device, the performance of which, falsely casual over coffee, is a sneaky ploy by loveable cad Palmer (Kelly) to win innocent Hayden (Kelly) away from her current act.
As anyone who's ever seen Kelly & Garland perform together knows, they're a match. The ploy will work. That swoony soft tenor of Kelly's, the aural equivalent of a randy comfortable blanket for vocal partners to take to their beds, just nuzzles right up to her more powerful alto, and let's it do the heavier breathing while he moves. And oh how he moves. John Fricke, noted Garland historian, was on hand to introduce the film and he shared that Kelly credited Judy with teaching him how to act for the camera. He didn't yet know how subtly you can play for the camera as opposed to the stage (Before this film he'd become a Broadway sensation in "Pal Joey" and Garland lobbied to hand him this debut.). You can see Kelly's learning curve in this film but as a song and dance man, he just can't be beat.
I amend. The film peaks a little later than that, when Judy sings "After You're Gone" which would become a concert staple for her (see below).
You can chalk up the song's staying power to the weird combo of its fickle tempo changes and Garland's unfaltering emotional control of its content. The film version of this number (I couldn't find a good video), takes place in a improvisational hurry because Kelly has been seeing another woman (Márta Eggerth -- more on her in the next post) and is late to their performance. Garland is essentially selling the song AND three separate character and plot points within its ebbs and crescendos: Hayden's ascendance into a confident entertainer who is able to leave her personal drama offstage, a young girl's immediate and unruly love for a man who is clearly trouble, and a maturing woman's worry about their future as partners. The song is prophecy, future tense, but Garland manages to sell her character's past, immediate present and future depending on the note.
Amazing.
The film's second half -- once we arrive at draft dodging and war bond selling patriotism and even an actual grenade throwing war sequence, is weirdly ungainly and choppy. But the film is definitely worth seeing as a milestone in three of the greatest careers within cinema's musical genre: Garland's, Kelly's, and director Busby Berkeley who considered For Me and My Gal his best film. (People aren't always the best judges of their own work but that's still something.
For Me and My Gal (first half: B+; second half: B-)
As exit music, why not Gene Kelly dueting with wee Liza on the title track years and years after her mama's movie hit it big?
Isn't that sweet?
Next up... the other film from this time period, with some interesting similarities Presenting Lily Mars (1943)
In the annals of showbiz history few one night events are as seismic as "Judy Judy Judy" the night Judy Garland hit Carnegie Hall, 50 years ago at this very moment, for her comeback performance. She was called many things during her legendary career: Hurricane Judy, The World's Greatest Entertainer, Ms. Showbiz and a lot of those titles coincide or funnel right into or through this big night. There's not really any concert footage of this event though it was famously recorded live to fulfill her record contract and eventually became her most important album.
I can't for the life of me remember how that Garland miniseries with Judy Davis covered the event but they must have done so given that it was one of those 'from cradle to grave' bios. Garland died just 8 years after this concert at the age of 47. Do you think the proposed Anne Hathaway as Judy Garland film will stretch this far into Judy's career? Or maybe it will never get made?
Hathaway is 28 years old at the moment, just ten years younger than Judy was on this big night...
Lots more after the jump including four melodic videos because I couldn't help myself. I do get carried away with the mythic actresses, don't I?
Tuesday, May 8, 2012 at 3:33PM 
