50th Anniversary: Liza Minnelli in "The Sterile Cuckoo"

by Camila Henriques

Pookie Adams is one of a kind. When we first meet her, she’s on her way to college and is the type of quick witted character that could very well be the Adam’s rib to the Amy Sherman-Palladino girls we have loved for the past two decades. With her round glasses and pixie haircut, Liza Minnelli’s Pookie is easy to love in Alan J. Pakula’s The Sterile Cuckoo. As the film turns 50 today (!), it’s magical to witness how  Judy and Vincente's offspring always had a sparkle of her own, capable of turning a manic pixie dream girl archetype into a layered character that rightfully earned her that first Oscar nod.

Liza was by no means a newcomer when The Sterile Cuckoo came out. A child of Hollywood, she famously grew up on hotels and movie sets and, at the age of 17, made her debut in an off-Broadway play and did a number of performances alongside mama Garland...

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The Seberg in "Seberg"

by Mark Brinkherhoff

Jean Seberg at only 17 years of age at a screen test for her film debutKristen Stewart as Jean Seberg in SEBERG (2019)

Jean Seberg is a largely under-seen screen star among contemporary moviegoers and even cinéastes. I myself was unfamiliar with her work, save maybe Airport (1970), until a couple of years ago when Katrina Longworth, of the absolutely essential podcast, You Must Remember This, embarked on a nine-part journey that chronicled the parallel rise and, in terms of public favor, fall of Jane Fonda and Jean Seberg, circa the late 1950s into the ‘70s. 

That Jane Fonda of all people purportedly envied Seberg, a friend and fellow American expat in ’60s France, for her edgy, avant-garde segues into French New Wave cinema is itself intriguing. But it’s the eclectic filmography of the beleaguered, ill-fated Seberg, who died tragically (at only 40) in the summer of 1979, that actually warrants our collective fascination, examination and ultimately admiration. So, on the heels of the Venice Film Festival premiere of Benedict Andrews’ Seberg, starring a similarly dismissed, then eventually respected actress, Kristen Stewart, let’s stroll through a handful of Seberg’s more seminal works, all (miraculously) available now on various streaming platforms...

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Smackdown '60: Glynis Johns, Janet Leigh, one Mary and two Shirleys

A lusty bar owner, a vengeful hooker, a teenage wallflower, a doomed secretary, and a sexually liberated suffragette made up the Best Supporting Actress quintet for 1960.

That shortlist found room for two established Hollywood stars (Glynis Johns and Janet Leigh), both overdue for their first nominations, two rising starlets named Shirley (Jones & Knight) and an acclaimed Scottish import (Mary Ure). They all caught Oscar's attention and it didn't hurt that their films were so popular (all but Dark at the Top of the Stairs were major contenders in multiple categories, and Dark surely intended to be, being a prestige transfer from Broadway). This resulted in one of the most homogenous lineups ever -- all blondes (though Glynis was a redhead for her role) and from their early 20s to mid 30s (average age: 29).

THIS MONTH'S PANELISTS    

Here to talk about these five nominated turns and the movies that housed them (Psycho, The Sundowners, Sons and Lovers, Dark at the Top of the Stairs, and Elmer Gantry) are writer/director Leslye Headland (Russian Doll, Bachelorette), theater and screenwriter Peter Duchan (Dogfight), freelance critic Kyle Turner, and your Film Experience co-hosts Murtada Elfadl  and Nathaniel R

1960
SUPPORTING ACTRESS SMACKDOWN + PODCAST  

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How are the nominees introduced in their movies? (A Smackdown '60 appetizer)

The Smackdown panel is meeting this Sunday to finalize the voting and record our conversation. All five films are available on either YouTube or Amazon but for Dark at the Top of the Stairs which you can watch on the link included below. Watch the movies and vote!

While you wait for the Smackdown and its Podcast, we thought we'd do a little exercize we haven't done in a while. Let's look at how the filmmakers introduce these characters within the overall stories. Bear in mind that these aren't the lead characters, so theroetically they don't have to be introduced in a "stop and look at this person!"" kind of way. But were the filmmakers underlining their entrances, preparing you to embrace an future-Oscar-nominated-star-turn, or just going about telling the stories? 

Let's investigate in the order they show up in their movies...

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Outback Chemistry

Marvelling, on a rewatch today, at the relationship Robert Mitchum and Deborah Kerr conjure in The Sundowners (1960). This marriage is incredibly specific, and they give you their lived-in camraderie, their longstanding grievances, their happy-sex-life vibes, and even their future together constantly. 

What actors have wowed you in terms of conjuring authentic marriage vibes onscreen? 

Unrelated P.S.: It's a pity that Robert Mitchum only ever received one Oscar nomination in his career. His & hers would have not been untenable here and he very obviously should have been in the mix for Night of the Hunter (1955).