Introducing... Fraulein Maria

Season 6 of "Hit Me With Your Best Shot" Begins!

The original premise of the Best Shot series was a short essay on ONE screen capture from a film, "best" being in the eye of the beholder, and thus the fascination since movies are communal but we see them individually. Everyone cheats with multiple shots and full movie reviews -  I'm the worst ! -- so In an altogether herculean effort to pare it back to the premise (*he begins to sweat*) I will only allow myself two screenshots today and one topic (gulp). For my sanity I've restricted myself to the film's first half, pre-intermission. We can always write about The Sound of Music again. 

Let's talk about the act of opening your heart up wide to fall in love, with all the risks that that entails... such as loving a movie that sophisticated cinephiles are not supposed to love, and loving a stranger who you don't yet understand. [More...]

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Robert Wise Centenary: Star! (1968)

For Robert Wise's centennial, we're looking back on a random selection of his films beyond the familiar mega-hits (The Sound of Music & West Side Story) which we are far more prone to talk about. Here's Manuel discussing Star! (1968).

With its succinctly confident title (exclamation mark and all) Star! is that other Julie Andrews/Robert Wise musical. The film is a biopic of Gertrude Lawrence,  a celebrated English performer who rose up from music halls to become a famed fixture on the West End and Broadway (see why Andrews seemed like such a great fit?). At 176 minutes, the film tests the patience of even those of us enamored with Andrews, musicals, and showbiz dramas.

Much like the very form that made Gertie a star, the film feels like a revue musical more so than a cohesive narrative of or about Gertie’s life. Parents, children, husbands, friends and lovers, come in and out of focus but rarely stay for long enough to create any sort of tension, especially as the movie is intent on barreling through Gertie’s life to give us (count ‘em!) fifteen full musical numbers.

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Woman on the Verge of a Nervous Linkdown

Art of the Title has an amazing 3-part retrospective / interview with title designer Pablo Ferro. His work includes: Bullitt, Married to the Mob, Dr Strangelove, Beetlejuice, Women on the Verge of a Nervous Breakdown and so many other greats
The New Yorker "why Mean Girls is a classic" even esteemed publications got into the 10th anniversary frenzy. Good piece from Richard Brody
The Dissolve Joaquin Phoenix will headline the next Woody Allen film, the one after Magic in the Moonlight. The prolific auteur isn't slowing down his one-a-year pac. Phoenix isn't slowing down either; remember how just a few short years ago, people thought Phoenix's career was over? The joke was on us.) 

 

Vulture Bilge Ebiri sticks his neck out for "Why Adam Sandler Matters"
Paper Mag 5 Most Swintessential Moments from Tilda Swinton's career. Love this though none are her actual acting & filmography which is tops. 
Playbill Idina Menzel & Julie Andrews talk Frozen, Wicked and The Sound of Music Live! on "Watch What Happens Live". Julie is very magnanimous about Carrie Underwood but I love the hint of 'i'm aware you all think i'm just being diplomatic' utter vagueness of "acting is acting is acting". Ha!

I thought she was great. Listen, she made it her own. But listen: acting is acting is acting."

The Wire pontificates on Emma Stone's career now that redundant superhero movie is in theaters. Shouldn't her career be so much more by now?
Cosmopolitan interviews Amy Schumer on 'sneaky feminism,' Parker Posey, plastic surgery and Judd Apatow's Trainwreck
Pajiba this is how you assemble a damn cast. On Joe Swanberg's wonderful ensembles 
AV Club is fear of TV cancellations a thing of the past? Shows with low ratings are no longer automatically doomed and fan passion counts for far more than it once did.
Gothamist wonders if James Franco is doing okay. Get out of bed! 

Today's Must Read
Cléo wonderfully provocative piece on "Samantha" in Her (now on DVD) from Angelo Muredda:

Early on, Samantha is eager to establish herself as, if not a human, then at least something more ambitious than a machine. She proudly proclaims that what makes her her is the ability to grow through her experiences. “So basically,” she says, “in every moment I’m evolving, just like you.” The latter part of that statement reads as a veiled threat to Theodore, who seems rather stalled in his moody present state as a sad man who writes other people’s love letters for a living despite being unable to sign his own divorce papers. It is a succinct expression of the film’s male smugness: that a girlfriend who begins excited about the world and her boyfriend’s witty emails is still a girlfriend who will one day leave.

Cinderella vs The Sound of Music: Live TV Musicals

It’s been one week since NBC was alive with the sound of Carrie Underwood. Whether you enjoyed The Sound of Music, hated it, or were on the fence, you have to admit that it’s the most talked-about television event since the Breaking Bad finale. 18.5 million people tuned in to watch Underwood under pressure, making it NBC’s most watched non-sports event of 2013.

While NBC has been reaping the rewards, Carrie Underwood has drawn fire for her lackluster acting skills. Since a lot of (justifiable) comparisons have been made between Underwood and Julie Andrews, I thought now would be a perfect time to revisit Julie Andrews’s own star turn in a live TV musical event, one that would make television history: the 1957 broadcast of Rodgers And Hammerstein’s Cinderella. Attend that magic ball after the jump

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M Battles the MPAA

Look, we're all well aware of Harvey Weinstein's history with Oscar campaigning. It's known, it's out there, they've even written books about it. So let's not pretend we're all delicate petals who are shocked by the man's efforts at drumming up heat for his annual roster of year-end awards contenders. Every studio does, most just don't do it on quite the same scale. And let's face it, sometimes his schemes are for the greater good to allow films to be discovered by more audiences. Having said that, however, I think we can all agree that he has well and truly outdone himself this time.

The story is still developing - we'll be sure to share the entire video when it surfaces on Funny or Die - but Harvey Weinstein appeared on CBS This Morning  yesterday to launch a campaign against Philomena's R rating from the MPAA due its use of "two f words". He uses words like "gentle", "humour" and "joy" to describe  Philomena  whilst comparing it to The King's Speech, which also went through a very public ratings controversy. None of this is news. Who he recruited to do battle with the Motion Picture Association of America, on the other hand, is news. Oh boy, is it news. Strange news. Odd news. Just watch for yourself.



That's right, M! Back from the grave of Skyfall's manor, Judi Dench in character as James Bond's boss has come out swinging. To quote Harvey himself on the TV, there's a "Kafka-esque absurdity" to it, don't you think? The MPAA may be able to resist Harvey, but can they resist Dench? Goodness gracious. Oscar season just entered a whole new level. We're through the looking glass, people. This is almost as good as the time David Lynch took to the streets of LA with a cow to campaign for Laura Dern and Inland Empire! As mentioned before, there's more to come, but this is the teaser that Harvey premiered yesterday. I think we can all agree that we're looking forward to seeing how this story develops.

And because I know y'all love you some Julie Andrews...