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.
Taina Elg quits dancing in Les Girls (1957)
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...
We're nearly finished* with 2015 Film Bitch Awards, our own annual year in review yearbook/party and of imaginary Oscar ballot (well, half of it is that). Today the remainder of our Best Scene categories with six final scene categories. This group hands more nominations to films from the top ten list of course but for highlights to point out here on the blog before you click over, we're using films outside the top ten list.
Obviously this page (and post) of awards contains mild spoilers so if you haven't seen the films and wish to stay pure, these are not the awards categories you're looking for. Here is one nominee I felt the need to gab about (maybe you will too?) from each category...
BEST KISS While Creed was mostly ignored by the Academy, chances are its big box office (which significantly outgrossed Stallone's last two attempts are reigniting the franchise) will insure a big career for Michael B Jordan. Can Tessa Thompson hope for the same (it's always trickier for actresses of color)? They're wonderful together. Especially endearing is the scene in her apartment where Adonis makes up a godawful wrap and they end up collapsed on the floor, caught up in the moment. It's an upside down shot from above and they're something beautifully innocent and pure but also sexy about this kiss. (Later they'll bring the heat in a proper sex scene at Rocky's house. "but what about your Uncle?" / "He old!" Ha!)
SEX SCENE Angelina Jolie's third directorial effort By the Sea was mercilessly trashed upon arrival but this was always going to be its fate. The Jolie-Pitts are extremely mainstream-famous. And household name blockbuster stars that the public has longed to see paired again onscreen aren't supposed to reunite for an indulgent overly serious tribute to Euro art cinema of the 1970s. That's for the other kind of movie star, like the Julianne Moores and the Ryan Goslings of the world, whose filmographies are built on eclectic sensibilities and crisscrossing between the ittybitty and the giant. But By the Sea isn't without its moments. The best scene, repeated in different forms like a musical riff, is when the couple sits on the floor in their hotel room and shyly watches another younger couple (Melanie Laurent & Melvil Poupaud) make love in the next room through a peephole. It's beautifully sympathetic and tragicomic, an estranged couple tiptoeing back to intimacy through surrogates.
OPENING SCENE David O. Russell's Joy is an easy movie to quibble with. It often feels like five different movies that haven't reconciled themselves. This problem (?) is embedded right in its prologue which jumps from inside a stylized soap opera, to Diane Ladd's wonderfully expressive fable-like narration, and back to the soap opera but this time "outside" of it through a TV set, and into little Joy's bedroom where she makes a castle and theorizes about her possible superpower (maybe she doesn't need a Prince?). Ladd's Grandma guides us through this collision of styles and ideas with an expertly dropped line about Joy's creativity that doubles as a guide to how to watch and make ambitious movies.
The patience to figure it out."
Will Joy grow on us with time? Perhaps it might. Perhaps we quibbled too much. Perhaps Russell didn't have the patience to truly figure this one out but there's a lot to figure therein.
ENDING Spotlight may have the most mellow finale we've ever nominated in this category but there's something about its sober work ethic and the core ensemble wide shot, with Walter "Robby" Robinson centered, that really lands emotionally and elevates the film. His phone rings and they all just return to work. Where they've always been.
Spotlight..."
CREDIT SEQUENCE I've been disappointed these last few years that it's more and more common for films to have virtually no credits at the beginning and double up at the ending. So shout out to Mission: Impossible - Rogue Nation which has great opening and closing credits. The opening credits would be spoiler-alert central if they didn't come at you so aggressively with machine-gun montage speed. The ending credits are even more stylish --both an homage to the TV show and film appropriate -- with action frames from the film outlined by the wicks of time bombs; this movie is a blast.
MISCELLANIA - A DOZEN FAVORITE SCENES When writing about the Film Bitch Awards I often revisit a whole bunch of movies in clip forms, particularly the earlier releases that are blurry int he memory. Here we are at the end of the prize-giving and here comes Diary of a Teenage Girl and it suddenly looks just as good as everyone claimed it to be (I was previously in the admired but only admired camp). It was easy to turn certain movies off after checking the scene in question but I kept getting sucked into this film, as if it were the first time. One of the best moments is an animated interlude "The Making of Harlot" where a 'Beautiful Junior,' getting it on with Minnie, remarks upon her aggressive sexuality with something like judgment in his voice (though he's benefitting). Giant Minnie, holding him in her King Kong paw, turns away, with a single teardrop and casts him aside. True movie magic.
* Only three categories left to announce (Limited Roles x2 & Line Readings). Can you believe we're actually going to finish this year before the Oscars**?! Wheeee. We'll announce those three categories plus all the Gold Silver and Bronze medals at some point in the next 24, ya dig?
** Okay technically I won't have finished, damnit. I never named the Animated Feature nominees (we only go 3-wide here) because I was trying to see Boy and The World before voting. So we'll be finished with everything but that category.
Team Experience is celebrating Valentines Day with favorite love scenes. Here's Lynn Lee on an 80s classic
Great Moments in Screen Kisses #20, Julian Sands and Helena Bonham CarterEveryone who loves this film remembers The Kiss. It’s the moment proper Edwardian girl Lucy Honeychurch (a very young Helena Bonham-Carter), vacationing in Italy, discovers romantic passion for the first time. She doesn’t know it yet, but the odd free-thinking young man she’s only recently met (Julian Sands) is her soulmate. He knows it, though.
Besides being (literally) storybook-romantic—a sun-drenched poppy field in Italy! lush soprano aria in the background!—the kiss is also wreathed in comedy, as the film cuts back and forth between Lucy, wending her way uncertainly towards George, and her fussy chaperone Charlotte (Maggie Smith) bonding with another fellow tourist, a hacky romance novelist (Judi Dench), over scandalous love stories before she starts to worry about Lucy. Meanwhile, the Italian driver who led Lucy to George looks on in amusement at what he has wrought. He knows what’s up, his own public display of affection having been previously smacked down by these uptight Brits. But the Kiss will not be denied.
It’s also the kiss that keeps on giving for the rest of the movie. Its memory haunts Lucy during her utter failure of a first kiss with her fiancé, Cecil (Daniel Day-Lewis, vying for comic MVP with Maggie Smith), in England. It reappears again at a critical and exquisitely awkward moment as a passage in a terrible romance novel, penned by none other than Charlotte’s novelist friend, that the clueless Cecil just happens to read out loud to none other than Lucy and George. The tension that was simmering since George’s reentry into Lucy’s life then comes to full boil, precipitating a chain of events that eventually forces out in the open what Lucy’s been denying for too long: she and George belong together.
Our Ingrid Bergman Centennial continues with David dreaming about her most romantic moments...
Like all stars of Classic Hollywood, Ingrid Bergman was paired with numerous leading men, and romance was an integral part of practically every film she starred in. And when I think of Ingrid Bergman, I think of - well, I think of #1 on this list. But we'll get to that. Here, in entirely subjective order, are Ingrid Bergman's best on-screen kisses. Start swooning.
Much kissing - oh, so much - after the jump. And, for those with bad internet connections, a whole lot of gifs - you have been warned.)
The Guardian features a new short story from Rupert Everett, writing about his altar ego movie star Keiran O'Nightley Playbill reviews special features on the Blu-ray for Into the Woods /Film Batman getting another animated film, this time in style of the 60s TVshow Instagram Hugh Jackman is still threatening to quit Wolverine. I'll believe that when I see it. I'm not as gullible as the rest of the internet. It's the man who cried wolfverine.
Variety YouTube gets slammed for placing age restrictions on The Fosters' sweet gay kiss between high school friends Connor & Jude (actors Gavin Macintosh and Hayden Byerly who are 16 and 14 respectively) in an historic storyline Playbill talks to Richard LaGravenese about Barbra Streisand's Gypsy project and the (gulp) Lady Gaga rumors Boy Culture Madonna performs "Ghosttown" her best single in ages with... Taylor Swift? Empire Broadway legend Audra McDonald will play the wardrobe in Beauty & The Beast extending its all star singing cast. But the wardrobe doesn't have any solos. Grrrrr The Matinee why don't contemporary films produce iconic film cars any more Variety NBC will next mount The Wiz for a live music event. That actually might be an inspired choice. We'll see. Coming Soon I could've sworn this was old news but maybe it only feels like old news since everything is being remade / recycled but Disney's Mulan will get a live-action redo /Film talks to Elizabeth Olsen about The Scarlet Witch Salon fills you in on 'everything you need to know about' Trevor Noah, the young comic who is taking over The Daily Show when Jon Stewart leaves AV Club Jon Hamm could have starred in Gone Girl? Huh.
TODAY'S WATCH Dwayne 'The Rock' Johnson IS Bambi... in this well deserved SNL spoof of Disney's live action remake obsession of their animated canon
Wednesday, August 10, 2016 at 8:33PM 
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).
Taina Elg quits dancing in Les Girls (1957)
