I'll be doing that tomorrow as I've been under the weather today. But don't despair if you needed a fix of Ron Howard's best movie (you heard me), the charming fish out of water comedy Splash from 1984. Here are seven articles from Best Shot participants to enjoy. Click on the photos to dive into their takes on this romantic winner about a man and his mermaid.
Entries in Hit Me With Your Best Shot (234)
We cannot catch a break here at TFE Headquarters this week (honesty this summer. Uff) so this one will be brief. If you haven't yet seen Baz Luhrmann's latest, the first half of a first season of a show about the birth of hiphop called "The Get Down" have at it. Due to time constraints we've only watched the first episode but it delivered on the Baz-ness that we have so desperately missed.
Here's my choice for best shot with commentary after the jump...
IMPORTANT NOTICE: Apologies that last week's episode was delayed one week but real life got in the way. So this Tuesday I'll be discussing Baz Luhrmann's The Get Down and Splash will serve as our season (series?) finale of Hit Me With Your Best Shot next week. It'll also double as the wrap up of our Year of the Month (1984) just after the Smackdown.
And then it's on to fall film season, festivals, and Oscar build-up!
This Tuesday Evening, August 23rd
THE GET DOWN (2016)
Pick one shot from the first episode of Baz Luhrmann's Netflix series described as "a mythic saga of how New York at the brink of bankruptcy gave birth to hip-hop, punk and disco"... though from more intricate descriptions it sounds like it's mostly hip-hop we're talking about. Can he bring that Moulin Rouge! magic? Was it worth the insane investment with a budget of $10 million per episode? (The first half of the first season -- six of twelve episodes -- began streaming on August 12th)
SEASON FINALE - Tuesday Evening, August 30th
With 1984 being our "year of the month" and a rumored gender flipped remake coming, we'll look back at the best live-action mermaid movie that I was obsessed with as a kid. Daryl Hannah's Crimped Hair forever!
For this week's episode of our cinematography series Hit Me With Your Best Shot we wanted a slight curveball as a way to celebrate the release of the Costume Design documentary Women He's Undressed. It's now available to rent on iTunes or purchase on other digital platforms. (Jose's interview with the director here). The film is about the legendary Orry-Kelly, who designed a truckload of classic Hollywood features and stars, and won three Oscars in the 1950s for An American in Paris, Les Girls and Some Like It Hot. So those playing "Best Shot" this week could choose any of those three. I watched Les Girls since it gets the least attention and they even use its image for the documentary's poster (left).
Les Girls (George Cukor, 1957) is not well remembered today but curiously it reminds us yet again that mainstream Hollywood in the 50s and 60s paid a lot of attention to foreign auteurs and absorbed (or ripped off - you be the judge) their styles and conceits. The semi-musical (a few dance numbers mainly) concerns a libel lawsuit involving a former showbiz act "Barry Nichols and Les Girls" and in the courtroom we hear three different versions of the group's break up in Paris. In each of the stories Barry Nichols (Gene Kelly) gets mixed up romantically with a different girl (America's Mitzi Gaynor, Britain's Kay Kendall, and Finland's Taina Elg) and their musical act eventually implodes. It's clearly modelled on Akira Kurosawa's Rashômon (1950) which had taken an Honorary Oscar from the Academy earlier that decade.
So let's choose a best shot and a best costume after the jump. Happily my three favorite shots come from each of the film's three acts...
I seem to have done something to my shoulder* so typing has become painful. People are performing superhuman feats at the Olympics whilst looking sexy and I'm watching like a mangled corpse in my living room. Fun times. Alas, that means this week's Best Shot Special Edition focusing on both cinematography and a Best Costume choice (as tribute to Orry-Kelly with the release of the documentary "Women He Undressed") might be very late. I'm taking frequent long stretching breaks.
Best Shot Articles Elsewhere
• Jason Choi *first time participant* looks at the final sequence in An American in Paris (1951)
• I Want to Believe relates to Sugar Kane in Some Like it Hot (1959)
• Dancin' Dan on Marilyn's curves and despair in Some Like It Hot (1959)
• Allison Tooey looks at the musical Les Girls (1957)
• Timothy Brayton has a lot to say about the Best Picture winner An American in Paris (1951)
* by shoulder I obviously mean back (the pain likes to surprise me as to where it will show up) because I have a historically problematic one. When everyone is looking at Olympians like "what are those circular bruises on their bodies?" I'm all 'Oh, so and so's been cupping' because I've basically tried every treatment in my lifetime.
Best Shot 1977 Party, Finale
Julia Cinematography by: Douglas Slocombe (2nd of 3 nominations)
Close Encounters of the Third Kind Cinematography by: Vilmos Zsigmond (1st of 4 nominations. His only win)
In case you missed our little Cinematography 1977 party we previously looked at the Oscar nominees Looking for Mr Goodbar, The Turning Point, and the little seen Ernest Hemingway inspired drama Islands in the Stream. Now that we're entirely out of time (SUPPORTING ACTRESS SMACKDOWN OF 1977 IS TOMORROW!) here's a quick look at our final two nominated pictures. This time we'll do it in the abbreviated spirit we always intended for the series but could never manage due to longwindedness: a single image and why we claim it as "best".
Best Shot 1977 Party. Chapter 3
Looking for Mr Goodbar (1977)
Directed by: Richard Brooks
Cinematography by: William A Fraker
Finally with chapter 3 in our look back at the Cinematography nominees of 1977 -- a little prep work for the Supporting Actress Smackdown (last day to get your ballots in) -- a real threat to Close Encounter of the Third Kind for the Best Cinematography crown. Close Encounters won the Oscar, its sole competitive Oscar, but William A Fraker was more than worthy as a nominee for his evocative experimental work on Looking for Mr Goodbar. The cinematography (along with its swinging partner, the editing) are ready and able to capture the whirlwind moods, liberated momentum, self-deprecating humor, and multiple flashes of fear within this time capsule of the sexual revolution.
My only regret in showcasing the cinematography for this series is that good images are hard to come by. More (a little bit NSFW) after the jump...