Klute, pt 1: Auditions, Tricks, and Transformations

Occasionally we'll take a movie and baton pass it around the team and really dive in. If you missed past installments we've gone long and deep on Rebecca (1940), West Side Story (1961),  Who's Afraid of Virginia Woolf (1966), Rosemary's Baby (1968), Cabaret (1972), Silence of the Lambs (1991), Thelma & Louise (1991), Aladdin (1992) and A League of Their Own (1992).  

KLUTE
A Mini-Series Retrospective with "Best Shot" Choice
Part 1 by Nathaniel R

The Oscar winning thriller Klute (1971) is now just over a half-century old. Since it's a personal favourite of mine, and features the iconic Jane Fonda in her first Best Actress winning performance, it's high time we really gave it its due here at The Film Experience. So let's start from the beginning and dive into what makes it great. Along the way we'll pick a "Best Shot" from each section, too, to coincide with that series...

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Almost There: Bea Arthur in "Mame"

by Cláudio Alves

This past Sunday, the American Theatre Wing and The Broadway League celebrated the 75th Annual Tony Awards. Considering past intersections of Tony gold and Oscar success, it's fun to speculate which honorees might one day reprise their roles on the big screen and play a part in a different sort of awards season. Not that repeating an acclaimed stage performance for film leads to a surefire triumph with the Academy. For every Yul Brynner in The King and I and Viola Davis in Fences, there's a Robert Preston in The Music Man and Bea Arthur in Mame. That latter film saw 2022's Lifetime Achievement Tony Award winner Angela Lansbury ditched by Warner Bros. in favor of Lucille Ball, despite having originated the role to great acclaim on stage and already being a film star. It was a move everyone involved grew to regret. 

Thankfully, the studios didn't replace Arthur from the original Broadway cast, so there's still something to love about the misbegotten Mame…

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Best Shot Picks and Nathaniel's Choice from 'The Godfather'

by Nathaniel R

Our film title this week on Hit Me With Your Best Shot was in honor of the restoration of The Godfather (1972) for its 50th Anniversary. Here are the Best Shot choices from seven participants and my own towards the end of the post. Click on the images that follow to read the corresponding articles. I'll be "talking" inbetween the images about a film I've never written about before (!) as I select my own... 

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The Honoraries: Liv Ullmann in "Face to Face"

We're celebrating each of the upcoming Honorary Oscar winners with a few pieces on their career.

by Juan Carlos Ojano

Liv Ullmann garnered her second and final (to date) nomination for her role as Dr. Jenny Isaksson in Face to Face, her seventh collaboration with Ingmar Bergman. Last included in the Oscar conversation in 1974 but was hampered by the eligibility issues of Scenes from a Marriage, Ullmann came back in the awards race roaring, with Best Actress wins from NYFCC, LAFCA, and NBR while getting nominations from the BAFTA and the Globes. While Faye Dunaway was the expected winner for Network, Ullmann undoubtedly gave one of her best performances (in a career filled with them) in this film.

TW: Sexual violence/rape...

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Hit Me With Your Best Shot: 'The Conversation'

by Nathaniel R

a wonderful 'establishing shot' not of a building but of a man (Gene Hackman), his targets (in photographs), and the tools of his trade.

Francis Ford Coppola's The Conversation (1974)  is nothing if not elusive. So many of the images in this paranoid mystery are obstructed. Coppola and the cinematographer Bill Butler are continually adjusting focus and searching for the subject and his targets. The protagonist, an 'unreliable narrator' type albeit without the narration, is Harry Caul (Gene Hackman, brilliant) and he's often hiding in the corner of frames, or with his back turned to us. The film begins with a full circle, as Harry is spying on a man and a woman as they walk around a city park. For what reason we do not yet know and might never know. Though we see his targets frequently, there are constant visual interruptions from trees and people and their own movements. We understand this to be Harry's view, figuratively if not literally, since people can't move like a crane shot or zoom in for a closeup...

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