TIFF: Ludivigne, Fassy and Glenn

Paolo again. Despite some minor screw-ups and nervous breakdowns, here I am to report on TIFF Day 4, which brought more polished kind of movies than the ones that I've seen in the past three days.

I saw Christopher Honore's Beloved as a recommendation by the TIFF Twitter account because I said that my two favourite movies were A Streetcar Named Desire and Do the Right Thing. Now I wonder what they would have said if I wrote that my top two are The Conformist and The Big Sleep.

Beloved begins with a sequence of a Roger Vivier boutique where its customers try out the heels that the shop sells. Different colours, skins, anything a girl wants. A young shop employee named Madeleine (Ludivigne Sagnier, recently interviewed right here) steals a pair and by wearing it she's mistaken for a prostitute. That's only one of the things that are difficult to swallow here, prostitution treated as something that Madeleine can get in and out of. Also incredulous is her daughter Vera (Chiara Mastroianni) turning a gay man (Paul Schenider) straight, the opposite of what happens in Honore's Love Songs where a straight man turns gay. Honore  tackles the fluidity of human sexuality in his films, as characters deal with being guilty of or the victims of infidelity. It's very open to, say, the Freudian nature of love where parents see their lovers within their children. Madeleine embodies that ambivalence and, since this is an Honore film, she occasionally sings these issues out.

The joke, of course, is that the adult version of Madeleine has to played by Mastroianni's real life mother, Catherine Deneuve and thus the younger Madeleine has to copy the older actress's younger self. The scenes set in 1964 make the comparison slightly unconvincing, but the non-linear film fast forwards into the late 70's to better results. It's scary how Sagnier nails Deneuve's essence, and it's not just the former's hair doing all the work. There's this snark that both have, this sexy cynicism that mirrors one with the other. Now if anyone can explain to me what the Prague Spring and 9/11 really have to do with these women's love lives...

Now there's my favourite movie forever this day, Steve McQueen's Shame. His previous work Hunger succeeds in making its audience marvel at his aesthetics in those film's first few minutes. Shame doesn't do this (at first) making the shots and the characters' actions within the frame more cyclical. It almost scares us into thinking that the movie will just be protagonist Brandon (Michael Fassbender) waking up and ignoring his sister Sissy's (Carey Mulligan) needy voice messages for a hundred or so minutes.

It's not until the entrance of the supporting cast that the film is humanized. Shame & Albert Nobbs after the jump.

Click to read more ...

Current Worry: Glenn Close as "Albert Nobbs"

You may have noticed -- and perhaps been aggrieved by -- the fact that The Film Experience rarely posts those abundantly released clips from upcoming movies. I'm okay with trailers and enjoy writing about them but I tend not to enjoy seeing film scenes out of context unless I've already seen the film. There's a lot of them floating around now for Drive, for example, which I would caution everyone NOT to watch if by chance you've held out this long. For me, one of the absolute greatest pleasures of seeing that particular movie the first time was the sense of discovery I felt at literally every moment. I had successfully only looked at posters, nothing else (not even reviews or the trailer), before seeing it so everything was a surprise. It was a wondrous experience to fully soak in a film's tone and structure and performances with absolutely no preconceived notions about what those things would be look, sound, feel or play out like.

Now, admittedly Drive is a special movie and not many movies would be that much of a revelation if you went in cold. The only other movie this year I've successfully refused any and all knowledge of beyond the super basics is The Skin I Live In. I'm crossing my fingers there, too.

But I couldn't resist seeing Glenn in drag in Albert Nobbs (which I just saw at Awards Daily) since stills and the like have been so scarce and we've been talking about it Oscar-wise for so long.

But curses! Again I'm experiencing the danger of disappointment in seeing scenes out of context. This scene plays as... nothing. It plays so flat. Visually drab, muted to the point of dull performances. Perhaps in the moment within the film, it'll be an interesting, compelling, funny or moving scene. But on its own... not sold.

My only observation: Glenn is very quiet, her Mr. Nobbs a meek meek man. My biggest fear for the film involved the director Rodrigo García. He is admirably committed to actresses (genuine points for that) but he tends to wrap his films in warm narcotized blankets as if he didn't want anything vivid or unruly to wiggle out. Even Naomi Watt's sexual provocations and Annette Bening's thorny social forcefield in Mother and Child, both of which would have felt like shocks to the system with certain directors behind the wheel, felt a smidge drowsy. If Close's whole performance is this restrained can she really make a Best Actress Oscar-win play out of it?

New Readers Note: Why is this post titled "worry"? If you're just joining us I worry because I've been rooting for Glenn Close to win an Oscar since 1987. I want this to be great.

Linker, Donor, Oscar, Bye

By now you've heard the rumor, which some sources say is closer to actual fact, that Eddie Murphy will be hosting next February's Oscar ceremony. That's a major get if true since Murphy hasn't performed live in years and years and is the kind of Household Name that Oscar always prefers. I'm sure we'll talk more about this if it pans out. 

Lorell and Jimmy are through-oooooooooh 

No matter how great Eddie is -- should he host -- I know I won't be fully satisfied because what are the chances he'd invite Anika Noni Rose (who you know we love) onstage for something. TRUE STORY: Every single time I hear "Eddie Murphy" since 2008 I hear Anika Noni Rose's glorious voice in my ear. I included the sound clip that plays in my head every time in the post. You better listen!

MEANWHILE...
Have you seen Paul Smith's limited edition beautiful posters for Tinker Tailor Soldier Spy? They're minimalism and its most gorgeous and they're charitable too. All proceeds go to cancer.

This is my favorite from the batch.

I keep staring at it. But then I love minimalistic art. I think I must need room for my own projections of what an image, movie, or thing might be.

Ashley Judd & Michael Shannon & the aphidslinks!
Sunset Gun revisits Bug, mincing no words: "a masterpiece". I like this movie too but if you ever have a chance to see it on stage, that's where it really wows. So claustrophic and crazy and weirdly expectant of your co-dependency.
In Contention on George Clooney's tribute at Telluride. What a star that man is.
Awards Daily Sasha thinks Glenn Close has a real shot at the Best Actress Oscar with Albert Nobbs as career capper. She also likes The Descendants.
Super Punch stop motion recreation of the Johnny Quest opening credits. "WOW" and also: "What on earth for?" 
Terry Richardson has been shooting Jared Leto again. Those two. 
Movie|Line Stephanie Zacharek with a beautiful ode to Michael Fassbender in Shame and a funny jab at Al Pacino in Wilde Salome.

Today's Must Read
The Sheila Variations on Mia Wasikowska in Jane Eyre. Can we just cut and paste this whole write-up into her Best Actress FYC ads? Hopefully Focus Features takes a look at it.

Even if you haven't seen Jane Eyre (2011) it's an expansive essay taking on various schools (and limitations) of acting and it even has two beautiful shout outs to two of Nathaniel's all time favorite characterizations: Meryl Streep in Silkwood and Kathleen Turner in Who's Afraid of Virginia Woolf? So I'm sensing that Sheila is a kindred spirit.

Oh and... uh... Happy Labor Day Weekend! 
I tried to take a vacation from blogging this week -- as i hinted in the "best of august" post -- and have now realized that I am unable. Constitutionally unable. Which is why you should all sign on as "subscribers" (in sidebar -- i've added a cheaper option for the brokest among you) so that I can keep blogging from here to eternity. I'm not suited for other types of work because I spend too much time dreaming about the movies.

I'm broke but here's... : $1.00USD - monthly Coffee on me! : $2.50USD - monthly I'll get the popcorn : $5.00USD - monthly

I'm not sure what I'll do next weekend when I will actually not have an internet connection and must stare at actual friends all day...and not through a computer screen? GROSS.

Diesel Sweeties designed the perfect t-shirt for people like me -- and maybe you -- who can't stop working.

HAVE A GREAT HOLIDAY IF YOU'RE CELEBRATING!

ANIKA DREAMGIRL

This & That: Pop Songs, Oscar Campaigns, Carnage Poster

Bill Pullman's new roleAV Club is success spoiling AMC? More rumors and commentary on the increasingly troubled network of Mad Men and Breaking Bad.
Macleans also reacts to this 'blame Mad Men' meme going around
i09 expresses shock that Bill Pullman is so amazing as a creepy motivational speaker/murderer on Torchwood: Miracle Day. I haven't seen it yet because we don't get Starz but Bill Pullman can do anything. Why are people surprised? Oh, right. Nobody goes to the theater. Pullman's performance on Broadway in The Goat: Or, Who Is Sylvia? is one of the greatest performances I've ever seen, I kid you not. (pun!) The movie roles obviously didn't challenge him enough.

The Hairpin has an interview with Kate Beaton who writes what may be my favorite webcomic "Hark, A Vagrant!"
Cinema Blend I was just talking about Patrick Wilson to a friend last night and bingo: today there's news that he's joined the cast of Ridley Scott's Prometheus. I should talk about actors who don't get enough good parts every night before I sleep so they'll be cast the next morning.
Inside Movies A story that the web will undoubtedly love: Andrew Garfield on the size of Spider-Man's package.

Oooh, lookie. It's the first poster for Roman Polanski's Carnage.

That's a weird loud poster but at least it's interesting. The moody faces are kind of an interesting way to get at the play's rollercoaster tonal shifts and convey that it's an actor's piece.

The Campaigning Begins
Gold Derby is already claiming the Best Actor Oscar for Leonardo DiCaprio in J Edgar. We'll see. Believe it or not he's still kind of young to win an Oscar. They make the men wait, you know. Different rules for men. Although I suppose it helps that he didn't turn out as elfin gorgeous as he looked like he might back in the days of his youth. Oscar likes his women drop dead gorgeous but doesn't like his men too purty. Just ask Paul Newman how long he had to wait. Or Brad Pitt who still hasn't won.
IndieWire Glenn Close to receive the lifetime achievement award at the San Sebastian Film Festival. Festival honors of the career variety are a standard stop on the way to would be Oscar glory. 
Just Jared just posted this promotional pic of Michelle Williams for My Week With Marilyn but labelled it a "still". If it's really a still in the proper sense than the movie is taking some adventurous chances with its look. 

For Laughs... Movie|Line is listing four reimaginings of princess movies that it never wants to see.

And in other news... True Blood has been renewed for a fifth season. Yay! Get caught up on The Film Experience commentary. 

Best Song of the 1980s?

Music makes the people come together.... yeah  ♪
Critical Condition's Ultimate Pop Song Tournament has come down to the final four: Madonna's "Like a Prayer" (89), Cyndi Lauper's "Time After Time" (84), Michael Jackson's "Billie Jean" (82) and Journey's "Don't Stop Believin'" (81) This has been such fun for the past few weeks and it also just goes to show you how classic the 1980s are in the cultural canon since songs from other decades were eligible. You already know who I voted for, duh. Go and vote yourselves. May your favorite win... unless it's different than mine.
Boy Culture conjecture about Madonna's upcoming schedule
Examiner DC This is a good piece on the music industry's ability to keep the public interested in the classics, and the film industry's inability to do the same. A provocative mystery, that, right?

Your Fav' Eighties Ladies!

Over the past couple of months we've been holding "Best Character" polls for Oscar's Best Actress category history. We asked not who should win the Oscar but which characters own real estate in your memory. Previously you selected Miranda Priestley, Clarice Starling and other iconic bitches as your favorites from the Nineties and the Aughts. 

But what of the 1980s? Here are the results. *asterisks indicate Oscar winning performances.

Three unarguably iconic characters: Sophie, Celie and Aurora

1981-1985

1. *SOPHIE ZAWISTOWSKI (Meryl Streep) from Sophie's Choice
2. CELIE (Whoopi Goldberg) from The Color Purple 
3. *AURORA GREENWAY (Shirley Maclaine) from Terms of Endearment
4. KAREN SILKWOOD (Meryl Streep) from Silkwood
5. VICTORIA GRANT (Julie Andrews) from Victor/Victoria

Diane Keaton's wondrous performance in REDS (1981) has not been forgotten.Runners Up: To complete the top ten you'd need (in descending order) a third Streep with KAREN BLIXEN from Out of Africa, Debra Winger's EMMA GREENWAY from Terms..., Jessica Lange's rendition of troubled movie star Frances, and with nearly a tie for tenth place Katharine Hepburn's *ETHEL THAYER from On Golden Pond and Diane Keaton's LOUISE BRYANT from Reds. 

Observations: The Streepster's reascendance in the Aughts has obviously polished her earlier work to a healthy shine which would partially explain her tremendous lead as "Sophie" (well, that and the performance itself) and Karen Blixen's near top five placement, despite being hardly as memorable as Sophie or the other Streep/Karen. 

Weakest Showing: While Jessica Lange was an Oscar favorite in the 1980s, her JEWEL IVY in Country received 0 votes. But then Oscar's oft-derided "Year of the Farm Wives" fared terribly, with all three of the farm women failing to muster much enthusiasm. And to think they could have had Kathleen Turner's fiction writer Joan Wilder from Romancing the Stone in there. (She would've hit the top five most memorable characters, don'cha think?)

1986-1990

Dangerous Ladies ruled the Late Eighties

1. LT ELLEN RIPLEY (Sigourney Weaver) in Aliens
2. ALEX FORREST (Glenn Close) in Fatal Attraction
3. *ANNIE WILKES (Kathy Bates) in Misery
4. SUSIE DIAMOND (Michelle Pfeiffer) in The Fabulous Baker Boys
5. MARQUISE DE MERTEUIL (Glenn Close) in Dangerous Liaisons

Runners Up: Completing the top ten in descending order are Julia Robert's Pretty Woman VIVIAN WARD (who initially looked like a top three threat but kept fading throughout the course of voting), Cher's *LORETTA CASTORINI in Moonstruck, Streep's SUZANNE VALE (AKA CARRIE FISHER) in Postcards from the Edge, Anjelica Huston's hard as diamonds LILLY in The Grifters and in a tie for tenth place Holly Hunter's JANE CRAIG from Broadcast News and Jessica Tandy's *MISS DAISY the one who who drove right over the Pfeiffer/Oscar dream. Damn you, Oscar voters!

Observations: Looking back it looks like Meryl Streep owned the first half of the 1980s while Glenn Close threatened her dominance in the decade's second half. And to think they might go at it again this year?!? This poll was the most contentious of the six polls we've held with very small differences in rank between the winners and much in the way of surges and drops. A certain formidable alien fighting woman was always out front but Alex Forrest refused to be ignored and wouldn't allow her a huge lead. Spots 3 through 10 shifted repeatedly with my beloved Kathleen Turner's PEGGY SUE just missing the top ten. [Sniffle]

Fonda and Bridges in THE MORNING AFTER (1986)Weakest Showing: Jane Fonda's ALEX from The Morning After  (which Nick and I tried to recall on the "1986" podcast) received 0 votes from the nearly 800 cast. Of Fonda's seven nominations it's her last and (obviously) her least remembered. It's currently available on Netflix's Instant Watch. Sadly Sally Kirkland's ANNA only barely registered. Kirkland is best known to today's audiences as that crazy-dressing lady who sometimes shows up at the Oscars but that surprise nomination for 1987 was hard-earned. Don't believe me? Watch the movie on Netflix Instant Watch.

Should we do the 1970s?  
What do you make of these 80s polls? Did your fellow TFE readers choose well or would you like to stalk them with Alex Forrest's butcher knife, Ripley's flame-thrower or Annie's hobblin' hammer and right the wrongs they done?