Q&A: Working Girls, Two-Time Winners, Generational Comedy

It's time to answer reader questions again! Roughly once a week I'll throw up an "Ask Nathaniel" post and then select the questions that trigger something in me. There are often great questions I don't answer because they'd require a whole book. Or a top ten list and we save the listing mostly for other features. Let's go.

CARLOS: I recently came across Working Girl (1988) on TV by chance. I think Griffith and, especially, Weaver are great and the costumes (unintentionally) hilarious when seen today, but what's YOUR opinion on the movie and Griffith? Do you think she could have a comeback? What would it take?

Working Girl is a total time machine for the late 80s. But truth: the costumes were intentionally funny. Or at least those worn by Griffith and the adorable Joan Cusack who were meant to be absurdly dressed. Most readers won't be aware of this because there's no reason to talk about her now, but Melanie Griffith was, for me in the 90s, the equivalent of Swank and the Zeéeeee in the 00s (i.e. actresses who I just can't with). My friends in college used to hide pictures of her in my dorm room to torture me with when I discovered them. Once, a huge poster of Melanie was staring at me from the ceiling when I jumped in bed!

I like the movie well enough but at the time it was wildly overawarded -- one of those AMPAS Christmas crushes that plays so well in the moment but is hardly better than earlier releases that it temporarily shoves out of favor during the crucial nomination period.  When I look back at 1988 I'm always pissed that Bull Durham (a summer hit 1 nomination), Running on Empty (a September critical darling, 2 nominations) and Who Framed Roger Rabbit (a June smash with 6 nominations and better than nearly every one of the Best Picture nominees) didn't get various big Oscar props that they deserved. I blame Working Girl because it's the easiest film to blame that year. And I especially blame Griffith because Susan Sarandon's "Annie Savoy", one of the greatest performances of the whole decade, was snubbed to include her!

JAMES: Many lament the onslaught of remakes/reboots/re-imaginings, but what film(s) would actually benefit from a remake? As an example, I ask you to consider Rosemary's Baby. While the acting stands up, much of the rest of the film is pretty creaky. What are your thoughts?

&

STEVE: What cinematic, television or literary character do you think should be revisited?

[Remakes, Chris Nolan, and Oscarables AFTER THE JUMP]

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Monologue Monday: "Time To Die"

Today marked the 30th anniversary of Blade Runner, one of the most influential movies of all time. The last time I saw the picture was  5 years ago for its restored 25th anniversary . T'was quite a mindfuck to see a movie so clearly 80s looking like it just came from the lab. For the anniversary I thought I'd share this previous article on Roy Batty's famous final monologue...

Blade Runner's perfect opening shot. Human but abstract

I've lost track of the times I've seen people steal from it, particularly in the art direction/ production design world (the world that spawned auteur Ridley Scott, don'cha know?). Roy Batty (Rutger Hauer), the leader of a freethinking band of androids known as "replicants" is the best character in the movie. He's scary yet soulful and sympathetic... like a 21st century Frankenstein monster. [More after the jump]

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Another "Prometheus" Mystery: Will There Be Oscar Play?

Ridley Scott's Alien franchise prequel Prometheus should probably be a film I take great objection to. The first reason I ever loved the series (beyond Lt. Ellen Ripley, queen of all action heroines) was how it doubled as an ever evolving adventurous launch pad for young auteurs. It's got the same premise virtually every time so you sit back and immediately see the director's vision in sharp relief against each previous or subsequent film. Even the lesser entries in the series have this to recommend them and in the 90s, even after Alien Ressurection I wanted them to keep making Alien films so we could see it through the different set of rising auteur eyes each time. I didn't really want Ridley Scott to go back for this reason. I especially didn't want him to go back back. Backstory and prequels -- conceptually, they are like safety nets for the imagination. Don't be afraid of wondering... we'll catch you!

Where is the mystery? Or rather, why don't people want more of it. Why do you they want so many answers?

Thankfully, Prometheus doesn't rob the Alien franchise of all of its mystery and magic. It's not midi-chlorian level obnoxious. And given the screenplay and execution, for better and worse, the new film creates its own mysteries. Some or these are intentional and some surely not, some internal some external. What did David⁸ say to The Engineer in the penultimate scene? Is the MPAA's request that Ridley Scott remove the entire abortion sequence -- not so coincidentally the strongest sequence in the film -- the dumbest thing they've done since Blue Valentine's NC17? Or is it just the thousandth priceless example of how aesthetically stupid they remain and or the millionth piece of case evidence that they should never be allowed anywhere near art!

This week since I know I desperately need to update the Oscar predictions I've been thinking of another Prometheus-specific mystery. Will it have an awards future? [Aliens & Oscars after the jump]

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Oscar Snub? Supporting Actress 1987

Witches of Eastwick 25th anniversary week ends this weekend. I intended to do much more but we'll see what little can be conjured still.

Cherries, Oatmeal, Satan and her weak husband just make her sick!

Film Experience Trivia: Veronica Cartwright was the star of the very first episode of Craig's "Take Three" series right here (well, at the old location) in 2010. He spotlighted her work in three genre pieces (Alien in which she was originally cast as Ripley (!!!) , Invasion of the Body Snatchers and The Witches of Eastwick) concluding that she is the sci-fi-horror scream queen. On Witches:

Cartwright's skill at creating profoundly memorable characters is none more evident than in Witches: you see the very bile rise up in Felicia's face; she vehemently means every word in her religious rants, summoning up as she does some kind of wicked, wrathful acting goddess. With cherry-scented vomit (or even hospital oatmeal) smeared ungainly across her mouth, and spitting hellfire sermons at everyone who'll listen, Cartwright was unafraid to eschew vanity to maintain supporting performance perfection. If the "Alien" lead was stolen away, a Best Supporting Actress nod was more so here. Remote-control fruit-based possession doesn't get any classier than this.

...she exited the film way too soon. 

There were surely people at the time who thought she over reached but when you're the god-fearing counterpart to Jack Nicholson's Devil, you have to go big.

SO, LET'S TALK OSCAR 1987. Here's how the year shook out for Best Supporting Actresses but did you agree with their choices?  

The Oscar List

I saw Moonstruck for the first time in 2 decades last year. My god it holds up. Dukakis, Cher, the screenplay, Nicolas Cage even? All fantastic.

• Norma Aleandro, Gaby: A True Story
• Anne Archer, Fatal Attraction
• Olympia Dukakis, Moonstruck (WINNER)
• Anne Ramsey, Throw Momma From the Train
• Ann Sothern, The Whales of August

The Globe List
the same list but for the following

• Ann Sothern, The Whales of August
• Vanessa Redgrave, Prick Up Your Ears ( also won the prestigious NYFCC Prize)

Vanessa, like Shirley Maclaine, is an oft-nominated Oscar caliber performer who also happens to have a surprisingly large list of snubs (despite the oft-nominated part) suggesting that if they don't love her work in a given year, they don't feel welcoming.

Martha Plimpton in a very unsettling scene in "Shy People". Good movie that's hard to find now.The Indie Spirit List

• Karen Allen, The Glass Menagerie
• Kathy Baker, Street Smart (also won the NSFC Prize)
• Anjelica Huston, The Dead (WINNER)
• Martha Plimpton, Shy People
• Ann Sothern, The Whales of August

I haven't seen Street Smart or The Whales of August but I remember liking the other three performances quite a lot. Sometimes I think I should watch The Dead again as an adult because I'm pretty sure I didn't fully understand it as a teen. I'm always hoping (in vain) that Martha Plimpton's current fame as a dramatic stage star and Emmy nominated comedic lead on Raising Hope will remind people of what a fresh compelling presence she was on the big screen in the 1980s. So talented that one.

The BAFTA List

• Maria Aitken, A Fish Called Wanda
• Anne Archer, Fatal Attraction
• Judi Dench, A Handful of Dust (WINNER, Oscar eligible the following year but wasn't nominated)
• Olympia Dukakis, Moonstruck

Though I've seen all of these films I'll admit to trouble recalling Aitken and Dench's work in those films. But I haven't seen them in 20 years so...

Other Key But Less Kudo'ed Supporting Actresses in 1987

the scene to end all scenes for foot fetishist everywhere. Maggie Han and Joan Chen in THE LAST EMPEROR (1987)

• Veronica Cartwright, The Witches of Eastwick (Saturn Nominee)
• Joan Chen, The Last Emperor
• Paulina Poriskova, Anna
• Margaret Whitton, The Secret of My Succe$s
• Dianne Wiest, The Lost Boys and September 
• Sean Young, No Way Out 

Sean Young's current reputation as a Crazy Person is a bit unfortunate considering that in the '80s (when properly utilized) she was just on fire.

In other retrospective news... I'm never eager to call Oscar "racist" the way so many pundits do. The truth is that they can only choose from what's put in front of them in any given year. Roles for actors of color have never been as juicy nor as abundant as those offered white actors in English language fare and when they get plum opportunities they usually win attention. That said, if there's a "racial" issue with Oscar it's one that doesn't get any attention. For whatever reason, Oscar rarely ever nominates Asian actresses for anything even when they achieve international stardom or headline blockbusters of the arthouse or the multiplex (think Gong Li, Maggie Cheung, Zhang Ziyi, Michelle Yeoh) -- both of which are achievements that get European foreign-language actresses nominated on occasion. They don't even notice Asian actress when they're key players in movies that voters can't otherwise get enough of (Joan Chen right here or Ziyi in Crouching Tiger) I'm not saying Chen should have been nominated -- I haven't seen the movie in way too long -- but wouldn't she have been in other circumstances considering that she plays a drug-addled royal in a Best Picture winner?

WHAT WOULD YOUR NOMINEE LIST LOOK LIKE?
Do you like Cartwright in Witches or do you wish she (and Jack) would tone it down? Which performances do you most wish you'd seen from 1987 that won attention? 

"Witches of Eastwick" Week!

Starts now!  Happy 25th Anniversary to The Witches of Eastwick (1987). Normal blogging will run concurrently but we'll pop on over to that supernatural New England town at least once a day this week. We'll discuss the famous vomiting scene, Michelle Pfeiffer's fruitful loins, Cher's sculptures and more. We'll also look for fun Witches-related articles online this week to share. 

But first... FUN FACTS

Title: The Witches of Eastwick (1987)
Director: George Miller of Mad Max fame. He directed every feature in that franchise and will also direct the reboot Mad Max: Fury Road to star Tom Hardy and Charlize Theron.
Release Date: June 12th, 1987
Based on: the novel of the same name by John Updike. I haven't read it but from my understanding it isn't what you'd call a "faithful" adaptation.
Legacy: The Witches of Eastwick has since been adapted into a television series a remarkable three times (only one version went to series, though) as well as a stage musical.
Movie's Running Time: 118 Minutes
Star Billing Hierarchy:

1. Jack Nicholson
   [TITLE]
2. Cher
3. Susan Sarandon
4. Michelle Pfeiffer
   [CO-STARRING] 
5. Veronica Cartwright
6. Richard Jenkins | Keith Jochim [shared title card]
7. "And Carel Struycken as Fidel"

Switcheroo: Cher's "Alexandra" role was supposed to be Susan Sarandon's and it was given to Cher without Sarandon's knowledge prior to shooting, leaving Sarandon with "Jane" instead. Sarandon was initially angry and coverage at the time suggested a very tense set. Yet Sarandon was the only Eastwick star to work with Miller again; they reteamed 5 years later for Lorenzo's Oil which won Susan her third Best Actress Oscar nomination.
Box Office: The tenth highest grossing film of 1987, just ahead of Dirty Dancing (Nobody puts These witches put Baby in a corner!)  Just below Lethal Weapon. i.e. as popular in its year as, like, Thor or Rise of the Planet of the Apes last year. It's the 2nd biggest hit movie about witches ever behind only The Blair Witch Project (1999).
Box Office Rank For Each Star's Whole Career: Jack's tenth biggest hit, Cher's second biggest hit (Moonstruck in the same year being #1), Sarandon & Pfeiffer's 5th biggest hit.

Are you ready, ladies?"

Oscar attention: 2 nominations for Score (John Williams) and Sound. Cher won the Oscar for Moonstruck released six months later and this movie couldn't have hurt; it was Her Year as they say (two #1 movies and a new platinum comeback album inbetween them titled simply "Cher")
Oscar-less: Only LaPfeiffer is Oscar-less now of the principal quartet.
Acting Kudos: Jack Nicholson took home Best Actor from the twin towers of critics awards: LAFCA and NYFCC (shared with Ironweed for which he was Oscar nominated). Nicholson, Sarandon and Cartwright all won Saturn Award nominations, too. Oddly there was zero attention from the Golden Globes despite the film being a hit prestige all star Comedy aimed at adult audiences.

Name your favorite personal "fact" about this movie in the comments. When did you first see it?