50th Anniversary: "Judy Judy Judy"

10|25|50|75|100 -anniversary specials

In the annals of showbiz history few one night events are as seismic as "Judy Judy Judy" the night Judy Garland hit Carnegie Hall, 50 years ago at this very moment, for her comeback performance. She was called many things during her legendary career: Hurricane Judy, The World's Greatest Entertainer, Ms. Showbiz and a lot of those titles coincide or funnel right into or through this big night. There's not really any concert footage of this event though it was famously recorded live to fulfill her record contract and eventually became her most important album.

I can't for the life of me remember how that Garland miniseries with Judy Davis covered the event but they must have done so given that it was one of those 'from cradle to grave' bios. Garland died just 8 years after this concert at the age of 47. Do you think the proposed Anne Hathaway as Judy Garland film will stretch this far into Judy's career? Or maybe it will never get made?

Hathaway is 28 years old at the moment, just ten years younger than Judy was on this big night...

Lots more after the jump including four melodic videos because I couldn't help myself. I do get carried away with the mythic actresses, don't I?

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April Showers: Stanley Kowalski

wateworks weeknights at 11

Have you ever been so out of control drunk that your buddies had to do a physical intervention and shove your sorry ass in a cold shower? Stanley Kowalski (Marlon Brando) has.

In A Streetcar Named Desirei, which I haven't been able to shake since we did our "Best Shot" episode (how about you?), Blanche Dubois is always taking baths to relax or to clear her head. Her nemesis and brother-in-law law Stanley isn't obsessed with bathing. His liquids are clearly blood, sweat and tears. But in this scene the shower wakes him from his violent stupor.

But still dripping wet, he's back to generating his own waterworks; a crying boy seeking comfort from the woman he's abused.

Hey baby? HEY STELLLAAAAAAAAAAAAAAAAAAAAAAA

Cast This: "From Here To Eternity" Redux

By now you may have heard the news that an uncensored version of the famous novel From Here To Eternity, a "director's cut" to speak in film parlance, is being released on e-books next month? It will restore profanity and some homosexual content to the military epic; In the 1950s, you didn't ask and they certainly didn't want any telling (or cussing).

"THE BOLDEST BOOK OF OUR TIME... HONESTLY, FEARLESSLY ON THE SCREEN!"

It's maybe a bit corrupt of me to play a casting game with a remake I've never rooted for -- it's a terrific movie as is -- but "Cast This" is fun, isn't it? And in the case of a this new author's cut, why not? Movies have been remade for far stupider reasons. And I don't feel too bad at proposing a remake of 1955's Best Picture From Here To Eternity because it's already been remade once as a television miniseries in the late 70s.

The reinserted homosexual content would be mostly in reference to offscreen events but it got me to thinking about the movie and the fact that Frank Sinatra, an able actor and massively popular singer won an Oscar for the role that contains the content. (Basically it amounts to him being gay for pay, a hustler.)

Monty & Sinatra in From Here To Eternity | Sinatra's Oscar Win

Meanwhile Montgomery Clift, an actual homosexual and one of the defining actors of the 20th century, never won one. What a world. I don't know how close Monty ever came to winning in his four times at bat, but it would make sense that he had a reasonable shot with From Here to Eternity. It was a wildly popular film and won eight other Oscars. It's also one of those rare films where every principle member of the cast was nominated.

CAST THIS
So who would you place in the five main roles?

Prewitt & Lurene, bickering loversPrewitt (The Monty part) is a stubborn principled transfer from the Bugle corps who used to box but refuses to fight anymore... even when provoked violently. He takes up with a nightclub girl and keeps getting dragged into Maggio's troubles, some violent. This actor should be handsome and believable as a former fighter and be a bit of an enigma.

Lurene (the Donna Reed part) is a girl of somewhat shady reputation -- and conflicted about it -- who works at the nightclub where all the soldiers go for entertainment. She wants to be something other than what she is and return to the mainland (if I remember correctly?)

Maggio (the Sinatra part) is the undisciplined volatile Private and loyal friend to Prewitt, who has a hustling past and gets in bar fights and is later violently abused by a superior officer.

Karen (The Deborah Kerr part) is the Base Commandes's neglected and unfaithful wife. She takes up with the Sergeant under her husband and is eager for him to become ambitious so she can divorce her husband and marry him without, one presumes, losing her way of life. She has a great line I've never fully understood which I've written about before when she's flirting with the Sergeant and invites him in.

You're doing fine sergeant. My husband is off somewhere and it's raining outside and we're both drinking now. You probably only got one thing wrong: the lady herself. The lady is not what she seems. She's a washout if you know what I mean. And I'm sure you know what I mean.

Sgt Warden and his Captain's WifeI don't!

Like every other character in the story, she's pretty conflicted about her own desires and action.

Sgt. Warden (The Burt Lancaster part) is a man who's conflicted about cheating on his Commanding officer by bedding his wife. This actor should be masculine, confident someone you'd take orders from but who is complacent about being a cog in the machine. So a leader but not too much of one.

Obviously Sgt. Warden and Karen have to have sizzling chemistry for their legendary beach sex scene.

GO!

Tennessee 100: "The Fugitive Kind"

Michael C. here from Serious Film to join in the Tennessee Williams festivities. When I picked a film to write about I jumped at The Fugitive Kind because

A) I'm a big Sidney Lumet fan and
B) I was curious how a second Brando/Williams collaboration could fly so far below my radar. I got my answer and then some.

The Fugitive Kind (1960) directed by Sidney Lumet based on Tennessee Williams’ play Orpheus Descending is one of the most fascinating messes I’ve ever seen. There is no getting around the fact that it just doesn’t work, yet I think I’d recommend it more readily than a lot of successful movies I’ve seen. Of all its flaws being dull is not one of them.

Williams writing was as inescapable in the fifties as Jane Austen’s was in the nineties. After burning through his major works Hollywood decided to take one of his rare unsuccessful productions and give it the full feature length treatment. Thus Opheus Descending, the story of a musician named Snakeskin with a questionable past who strikes up a relationship with a trapped middle-aged woman while lying low in a tiny southern town, hit the big screen under the title The Fugitive Kind.

This film represents Brando’s return to Tennessee Williams for the first and only time following his iconic work as Stanley Kowalski, and Anna Magnani’s second Williams project after winning the Best Actress Oscar for the movie of his play The Rose Tattoo. This was Sidney Lumet’s first encounter with Tennessee but his success with the adaptation of Broadway’s 12 Angry Men made him a natural choice. With such a collection of talent it can leave one wondering why so few still talk about The Fugitive Kind.

Brando and Magnani: Tennessee Williams Sophomore Slump

Until one actually watches the movie that is.

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Best Shot: "A Streetcar Named Desire"

Hit Me With Your Best Shot continues with A Streetcar Named Desire (1951). This week's film was chosen in light of the Tennessee Williams Centennial, the great writer's 100th anniversary is this weekend. If this is your first "best shot," partipicants are asked to watch a film, and select its best shot (or their favorite, natch) and post it, with or without an accompanying essay.

Stanley: Yknow there are some men that are took in by this Hollywood glamour stuff and some men that just aren't.
Blanche: I'm sure you belong in the second category.
Stanley: That's right.
Blanche: I cannot imagine any witch of a woman casting a spell over you.
Stanley: That's right.

Elia Kazan's masterful adaptation of Tennessee Williams happens to be, by a significant margin, the best film version of any of his work. It moves more elegantly around Hollywood's censorship of then risque material than the other biggies that followed (Cat on a Hot Tin Roof, Suddenly Last Summer and Sweet Birth of Youth) and it's managed to be more definitive than any film version of the other play vying for most immortal Tennesse Williams Creation (The Glass Menagerie). The 1951 film will forever be revered, and justifiably so, for providing an irreducibly perfect 'moment in time' look at the shifting of Hollywood acting; the friction between pre-50s artifice in Vivien Leigh and Blanche DuBois and post-50s "realness" in Brando's "Method" Stanley is still absolutely sensational 60 years on. As are both approaches to acting, I might add as a fine point (provided the actor is a skilled one). Too often we view all sweeping artistic shifts as progress when they are more often than not, merely lateral aesthetic shifts, opening up new pleasures but not truly replacing the old ones. Time marches on; we explore new things.

In the understandably immortal hoopla surrounding two of the greatest screen performances of all time, we often lose sight of other pleasures. A Streetcar Named Desire has many of them from Tennessee William's indestructable poetry to Elia Kazan's assured guiding hand to the Oscar-winning art direction and the expressive shadowy lighting from Harry Stradling Sr. Stradling manages effects that are both harsh and ethereal, both ugly and beautiful, but not always in the combinations you'd expect them to be and sometimes both at ones. His camera and lights perfectly bridge all of the performances, moods and characters.

But the way he lights Stella (an inspired Kim Hunter) has always fascinated me. In her scenes with Blanche, the shadows often obscure one or the other of her faces and in those scenes which highlight the mad desire for Stanley her eyes are often obscured, with only tiny sparks of light flashing and reflecting from them.

Stella: Isn't he wonderful looking?

Blanche: What you're talking about is desire, just brutal Desire. The name of that rattletrap streetcar that bangs through the Quarter, up one old narrow street and down another.
Stella: Haven't you ever ridden on that streetcar?

Stella seems unknowable, feral, as dangerous in her own singlemindedness as Blanche is in her self-deception and Stanley is in his brutality. Her eyes have an animalistic defiant glint but it's not just her irises; this is one of the horniest performances ever captured on film.

This shot in particular is just fascinating, pulling the central triangular drama into sharp (deep) focus.

My pick for best shot.

The sisters have been having a serious chat. The previous night's tumult involving poker, flirtations, drunken messiness, abuse, "Stelllllaaaaaaaaaaaa!!!!" and an obvious offscreen fuck-a-thon between Mr & Mrs Kowalski have disrupted their bond. If they're not quite seeing eye to eye the sisters are beginning to really listen to each other until they hear Stanley's return. We see his shadow first on the left side as then his body as the women immediately stop talking.  For the next agonizing few seconds, they seem absolutely frozen with indecision, though there's a curious sapphic charge to Blanche's silenced pawing pleas. There's another "Stella", Stanley's foolproof siren call, from the background and then Stella, ever so slightly turns his way, catching the light, his light if you want to get figurative though not literal.

She's lost to Blanche and herself again. Though Stella ends the movie an hour and some minutes later swearing Stanley off forever, our guess is she hops right back on that rattletrap streetcar named Desire once the credits roll. She's up one old narrow street and down another with Stanley as her violent conductor.

The Kindness of Strangers
Enjoy these participating posts at other fine movie-loving blogs.

• Film Actually ~ Blanche DuBois as a delusional "orchard in spring."
• Encore's World ~ emerges from the fog to find a Tale of Two Sisters
• Serious Film ~ Experiencing "Bleed Through": Meet Scarlett DuBois. Or is it Blanche O'Hara?
• Victim of the Time ~Barebones, a Streetcar Named Desolate Desire.
• Cinephilia & Sass ~ The Haunting of Blanche and the cameras relationship to her in general.
• Movies Kick Ass ~ Takes a personal trip to illusion in New Orleans.
• Pussy Goes Grrr ~ Peers voyeuristically at 'The Curiousity of Strangers'
• Against the Hype ~ Must Blanche fend for herself in the grim mise-en-scène. Another wonderfully provocative piece from Against the Hype.
• Okinawa Assault ~ "the frills and frenetics" of a silent movie!
• Dial P For Popcorn ~ examines the triangle and Stella as mediator.
• Musicinephiles ~ on Blanche & booze. So much for the one drink limit.
• Luisergho ~ hands us a series of image and shouts along with Brando
• The Owls Are Not What They Seem ~ Blanche splintered, defeated.

Next Wednesday
Alfred Hitchcock's PSYCHO (1960) in celebration of the release of a stunning debut novel "What You See In The Dark" by Manuel Muñoz which brushes up against this movie in interesting ways. Coming soon: an interview with the author and a book giveaway. But about BEST SHOT: It's impossible that everyone will love the shower scene best, right? Why don't you join us and try to pinpoint your favorite image? Next Wednesday at 10 PM right here... and at your place if you participate.