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

 

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Entries in Hit Me With Your Best Shot (140)

Tuesday
Aug192014

Gone With The Wind... Blown To Wednesday Night!

For all your procrastinators, a gift. I'm having an issue with my copy of Gone With the Wind which will postpone my own choice for "Best Shot" until tomorrow. So we'll move the Best Shot party until tomorrow night giving you an extra 24 hours to get on that if you wanted to but were having trouble cramming it in.

If you're shaking your fist into the sunset eager to read about iconic shots from Gone With the Wind (1939) do not fret. Some of our favorite bloggers are already on it:

Timothy -" one of those movies that's so much bigger than anything you can measure it against that even calling it a "movie" seems inadequate..."
Lam - "one of the first English-to-Vietnamese literary translations that my mother read as a child..."
Jason -"The film has no shortage of sumptuous images of the war's destructive power..."
Kacey- "In the seventh and eighth grade, I had this social studies teacher. We’ll call her Ms. B. [she] announces to the class that we’re going to spend a week watching Gone With the Wind..."
Shane - "No matter how you feel about the film, there's no denying its visual grandeur...."

And a brand new participant who starts with this wonderfully funny promise!

Clover - "I barred myself from anything that has been or ever will be used in an Oscar montage..."

Scarlett is NOT pleased that you aren't planning on picking your own "Best Shot". Get on it, people!

Reminder: This "Best Shot" episode is a two-parter. Choose a Best Shot from somewhere between the opening credits and the "I'll never go hungry again" intermission. Next Tuesday, August 26th, we'll complete the film with our Part 2 selections.

Frankly, you should all give a damn. Join us. There's still time.

Thursday
Aug142014

Gone With The Summer

Hattie is judging you. Stop with your fiddle-dees and choose a 'BEST SHOT' alreadyI'm like one of those horrible teachers that gives you endless homework. But I hope in the end when you graduate you'll be all 'he was the best. O Captain My Captain' and whatnot.  But here's what you should be watching for maximum participatory glee here at The Film Experience as the summer draws to a close.

Retro: To close out "Best Shot" we'll be celebrating Gone With the Wind in two parts for its 75th anniversary year on August 19th (pre-intermission) & August 26th (post-intermission) and The Matrix on September 2nd (if you've always wanted to participate, why not now?); Anne Marie will look at Long Days Journey Into Night and Guess Who's Coming To Dinner as she hits the glorious 1960s in "A Year With Kate". And we'll be celebrating a few films from 1989 leading up to the Supporting Actress Smackdown on August 31st: Julia Roberts (Steel Magnolias) vs Dianne Wiest (Parenthood) vs Brenda Flicker (My Left Foot) vs Lena Olin + Anjelica Huston in (Enemies: A Love Story). Make sure to get your votes in on those since you are the 7th panelist! 

The Now: Emmy countdown madness. More on Boyhood. Reviews of The Giver, Frank, and The Congress. And coverage of two must-see indies Love is Strange with John Lithgow and Alfred Molina and The One I Love with Mark Duplass and Elisabeth Moss. 

Elisabeth Moss in "The One I Love"

And then we hit The Toronto International Film Festival to start September off right. This fall is going to be so exciting. I can feel it. More interviews. More festivals. More guest star actors. More. Whoo-hoo! 

Wednesday
Aug132014

A Year with Kate: Suddenly, Last Summer (1959)

Episode 33 of 52: In which Katharine Hepburn is like the Goddess from the Machine.

I want to write about Katharine Hepburn, but the movie keeps getting in the way! Reading last night’s contributions to Hit Me With Your Best Shot, I was struck by how many bloggers described Suddenly, Last Summer as “camp,” “wildly expressive,” or “absolutely batshit gonzo crazy.” This is a film that will not be ignored. It’s garish and shocking. The psycho-babble hasn’t aged well--as Nathaniel points out, such things rarely do. The themes of cannibalism, sexual deviance, and monstrous madness creep like kudzu vines hanging in Violet Venable’s garden, blocking the light and threatening to squeeze the resistance out of unwary viewers who venture into the film unwarned.

This unsettling excess had been, up to that point, unusual for director Joseph L. Mankiewicz--best known for character dramas--but can be easily traced to his collaborators. Gore Vidal adapted Tennessee Williams’s short lyric play about a rich widow’s attempts to hide her dead sons secrets by lobotomizing her niece into a Southern Gothic by way of Freaks. There are scenes with sanitariums and gardens, and many things are said. In fact, you might overlook how talkative the film is thanks to Jack Hilyard’s beautiful black and white cinematography. Elizabeth Taylor and Katharine Hepburn (both Oscar nominated) battle over and between Montgomery Clift against the lurid Louisiana locations created by Oliver Messel and William Kellner (also nominated). In short, this film is sensory overload.

But I digress. This series is about Katharine Hepburn, not censorship or deviance or strong production design. One shot stands out to me as the definitive Best Shot when discussing Kate’s turn as Violet Venable: an empty chasm in the ceiling into which Dr. Cukrowicz gazes as the elevator whirs to life. You hear Violet Venable before you see her...

Click to read more ...

Tuesday
Aug122014

Visual Index ~ Suddenly Last Summer (1959)


This week's Hit Me With Your Best Shot episode is devoted to the film adaptation of Tennessee William's Suddenly Last Summer (1959) in which a brain surgeon (Montgomery Clift) whose hospital is in dire need of cash is enlisted by a filthy rich woman (Katharine Hepburn) to perform a lobotomy on her niece (Elizabeth Taylor) because that niece keeps telling lies about her dead gay son. Got that? That's just the kick-off to the crazy.

This sensationalistic film, which was the third and final onscreen pairing of bosom buddies and immortal stars Taylor and Clift, was nominated for three Oscars: Two Best Actress nominations and Art Direction.

 

SUDDENLY LAST SUMMER (1959)
Cinematography by Jack Hildyard
Shots are displayed in their rough chronological order. Click on the shot to read the corresponding article.
11 Shots Selected By 12 Participants

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Tuesday
Aug122014

Elizabeth Taylor in "Suddenly Last Summer". Oh how that star burned.

This is an episode of Hit Me With Your Best Shot

"Suddenly... last summer" is spoken so often in Suddenly Last Summer (1959), Joseph L Mankiewicz & Gore Vidal's adaptation of Tennessee Williams play, that it starts to take on a kind of trancy grandeur. The actresses retreat inward, psychologically, in the thrall of their own theatricality, the overheated jungles of art direction around them, and surely their good fortune to be playing Tennessee Williams characters.

my favorite scene in the film

To a minor degree the repetition of "suddenly...last summer" is not unlike the effect of Rita whispering "Mulholland Drive" like an incantation in Mulholland Dr. The comparison seems apt since both films are batshit crazy sexually charged nightmares in which a beautiful brunette has selective amnesia issues.  But let's not drift away to 2001. We stay in 1959. And two beautiful brunettes is exactly what I want to talk about since Montgomery Clift and Elizabeth Taylor loom large in my own movie fantasies, as two of my all time favorite actors. 

Suddenly Last Summer might seem dated in some respects as psychological films often do as science progresses but Elizabeth Taylor's star power hasn't aged a day. She's impossible to look away from and aces the tricky role of Catherine Holly, a woman who is fully sane but goes a little mad sometimes... and not just from the PTSD she's clearly suffering. Taylor is a smart enough actress to go for gray shadings in both Catherine's sexuality and psychology even when the gorgeous lighting by the Oscar-winning cinematographer Jack Hildyard (The Bridge on the River Kwai) is so high contrast and her monologues go so extremely black (the absence of memory) or white (the blazing white beach where her trauma began).

more after the jump

best shot

The beach was very white. Oh how the sun burned. It was like the eye of God watching us, burning, burning. There was no air that day. The sun had burned up all the air. Outside it was like inside a furnace.

And then they came...

This image seizes me. Elizabeth in the sun; Monty eclipsed. 

Which you might say is true of the movie. Both Actresses were Oscar nominated but Monty is constantly overshadowed. I'd argue that his is this adaptation's most difficult role because there's so much less to work with that it's easy to disappear as the surgeon ricochet's between two madwomen. He's best in this, his first scene with Liz; they loved each other dearly offscreen and their chemistry always blazed. It's a long duet in which he coaxes her towards memory and they flirt and spar not a little. The structure of the scene will be somewhat mirrored in the film's climax, Catherine's memory returned.

By contrast Monty practically disappears in his scenes with Katharine Hepburn, where he goes frustratingly blank even when the role suggests so much more than he's giving, particularly in Violet's insistent refrain that he is like Sebastian, her dead (gay) son, in this way or, undoubtedly, that. 

runner up images after the jump if you're a completist or so inclined to consider more options...

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