Middleburg Sneak: "Stan & Ollie"s gentle charms

Stan & Ollie had its world premiere in London today and we caught a sneak peek at the Middleburg Festival...

by Nathaniel R

The original odd couple of screen comedy, Laurel & Hardy, had several familiar gestures that delighted audiences in the 1930s. Thin Brit Stan Laurel's main move was to scratch his head comically from the top, his hand like a curious clawed hat. Rotund American Oliver Hardy's sometimes did a fey little wave, hand tight against the body, the fingers doing all the wiggling work. Why these were funny to audiences at the time will possibly be a mystery to contemporary audiences.

Stan & Ollie, starring Steve Coogan and John C Reilly, is a brisk well-paced movie about the legendary early-cinema comedy act in their waning days. It doesn't attempt to explain their appeal to us in 2018 but merely exists in the space between then and now...

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353 Days Until "Once Upon a Time in Hollywood"

Behold. It's the first image of Margot Robbie as Sharon Tate in Quentin Tarantino's Once Upon a Time in Hollywood. The film is still a year off, as it won't hit theaters until July 26th, 2019. The release date was originally August 9th, a tasteless choice as that will be the 50th anniversary of Sharon Tate's grisly murder at the hands of Charles Manson's followers. Tate was famously married to Roman Polanski and 8 months pregnant at the time (Tess, an Oscared hit in 1980, was dedicated to Tate, who had hoped Polanski would adapt it to screen). No signs of pregnancy in this photo so perhaps the film will not go there directly (we hope not).

The lead characters are a fictional actor (Leonardo DiCaprio) and his stunt double (Brad Pitt)...

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Doc Corner: In the Shadow of Kubrick with 'Filmworker'

by Glenn Dunks

Sometimes you really can tell a book by its cover. Or in this case, a movie by its poster. The artwork for Tony Zierra’s Filmworker shows a photograph of Stanley Kubrick on set with his long-time yet little-known collaborator Leon Vitali hovering behind him. Kubrick, normally the focus of these sort of non-fiction works, is unusually blurred. Our eye naturally focuses on Vitali despite Kubrick’s appearance that can’t be entirely obscured no matter how hard they try.

It’s fitting for Filmworker, a documentary about Vitaly not Kubrick. Although, as was probably always inevitable about a film about the people around one of cinema’s most commanding and famous names, Kubrick remains a constant presence who is too hard to ignore...

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Months of Meryl: Death Becomes Her (1992)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

 #19 —Madeline Ashton, a past-her-prime Hollywood actress who goes to great lengths to preserve her good looks.

MATTHEW: Meryl Streep and her good friend Goldie Hawn once came very close to riding off a cliff together. During the early 1990s, the pair had been in search of a dual-star vehicle to appear in and were initially in contention to play the titular roles in Thelma & Louise, along with one-time possibilities Jodie Foster, Frances McDormand, and Michelle Pfeiffer. Hawn and Streep actively courted Pathé Entertainment’s former C.E.O. Alan Ladd, Jr. for the parts and even tossed around ideas for a happier alternate ending. (Streep, who would have played Louise, wanted Thelma to live.) Eventually, Streep’s schedule got in the way, while Ladd deemed Hawn an iffy fit for the project, clearing the way for Geena Davis and Susan Sarandon to take on the most popular parts of their careers...

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Months of Meryl: Postcards from the Edge (1990)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

 #17 —Suzanne Vale, a recovering drug addict and B-list actress of royal Hollywood pedigree.

MATTHEW: It has always been impossible to escape the metatextual associations of Carrie Fisher’s Postcards from the Edge, which really means it has always been impossible to escape the shared history of two artists: Fisher and her famous mother, Debbie Reynolds, a relationship that is the very bedrock of Fisher’s 1987 novel and Mike Nichols’ subsequent screen adaptation. To watch the latter now, in a world without Fisher or Reynolds, is an experience of unavoidable and indescribable bittersweetness. It helps, however, that Fisher confronted even the most harrowing episodes of her lifelong addiction with a sly, battle-ready smirk and a tart tongue, which always ensured that she — and she alone — would get the last word. On the screen, Postcards from the Edge remains a salty, joyous, yet tough-minded immersion within the rocky recovery of its Fisher-like heroine, Suzanne Vale, and a prickly heartwarmer that continually confuses our inclinations towards laughter or tears.

This is largely because of Fisher, whose hysterical one-liners are an art form unto themselves. Consider, for a moment, that such gems as “Do you always talk in bumper stickers?” and “Instant gratification takes too long” and “What am I supposed to do, go to a halfway house for wayward SAG actors?” are all spoken within the first 20 minutes of the movie, and there are plenty more where those came from...

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