Meow. It's Michelle Pfeiffer's Birthday!

To celebrate the 55th birthday of the one and only I thought we'd resurrect an old post about her Catwoman performance. If she's got nine lives so should this post. Please to enjoy...

Tim Burton's Batman Returns, the best Batman film (you heard me... throw down!) is now 15 21 years old and still one of the best comic book films. The movie didn't change cinema or its genre or significantly alter any careers. But it did send yours truly and millions of other Pfeiffer inclined moviegoers into a pfrenzy, arguably marking the apex of La Pfeiffer's cinematic reign. She was still in Oscar chasing mode (Love Field) and the full fledged move from heavy dramatic lifting into light mainstream fare (One Fine Day) and then blink and you'll miss her erratic appearances (Dark Shadows) was years away.

Ten Best Catwoman Line Deliveries
All the dialogue rocks but these are my favorite Pfeifferian readings

10 "Life's a bitch. Now, so am I"
Blockbusters love to shove quips on the public, in the hopes of catchphrase afterlife. This one’s pretty basic but Michelle sells it with true believer zeal.

9 more purring quips after the jump

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Burning Questions: Can You Really Separate A Performance From The Film?

Hey everybody. Michael C. here. Growing up in the dark days before Twitter, back before I could get my Oscar gripe on 24/7, I had to focus all that emotion on Siskel and Ebert’s annual "Memo to the Academy" special. Watching year after year, one of the refrains the duo drilled into my head was that the Academy should expand their idea of what constitutes an Oscar-worthy performance. Don’t lazily jot down the names of those appearing in best picture contenders. Evaluate each performance on its own merits, apart from the film that contains it. They were adamant on the subject. 

Or at least they were, until the 1998/99 episode when Gene found the limits of Roger’s open-mindedness by suggesting James Woods receive a Best Actor nod for John Carpenter’s Vampires. After Gene went on for a bit about Woods’ talent for commanding the screen, Roger demurred, “Yeah, but if you’re gonna nominate someone for Best Actor you kinda want them to be in a little better movie, don’t you think?”

Gene wasn’t having it: “No. I want the performance. I don’t care about the movie.” 

This altercation zeroed in on a question that has always nagged at me. If even a harsh critic of stodgy thinking like Ebert has to draw the line somewhere, is the issue that cut and dry? Is it really possible to separate the performance from the film? [more]

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Podcast: The Place Beyond the Desiring Images of the 90s

Surprise Podcast Attack!

For this impromptu conversation, Nick Davis, Joe Reid and Nathaniel R (c'est moi) travel back in time to the 1990s to talk VHS, Jurassic Park, Box Office vs. Lasting Power, Charactor Actors, and Desired Images (on account of Nick's book!) like Brad Pitt or Velvet Goldmine.

In addition to the time travelling we check in with new movies like the documentary Leviathan, the Ryan Gosling/Bradley Cooper drama The Place Beyond the Pines and Tyler Perry's Temptation. 

You can download the podcast on iTunes or listen right here at the end of the post. 

Beyond the Desiring Image

Top Ten 1990s

I promised longtime TFE super fan Ryan that I would one day write up a big top ten of the 90s piece although THIS IS NOT IT. This is like those tossed back "shots" of past decades wherein we tell each other our favorites. I'll tell you my ten favorites which are wildly unstable and could be replaced by anything in the "with apologies to" list if I'd ranked on another day. Well, not the top three. I mean... let's not get crazy.

1. The Piano (Jane Campion)
2. Boogie Nights (Paul Thomas Anderson)
3. Thelma & Louise (Ridley Scott)
4. Heavenly Creatures (Peter Jackson)
5. Beauty & The Beast (Trousdale & Wise)
6. All About My Mother (Pedro Almodóvar)
7. Trois Coleurs Trilogy (Krystof Kzielowski)
8. T2: Judgment Day (James Cameron)
9. Fargo (The Coen Bros)
10. Pulp Fiction (Quentin Tarantino)

Most of them weren't even nominated for Best Picture. (Sigh). Oscar is so...

With apologies to 15 more. Let's call it a top 25: 
Being John Malkovich, Titanic, [safe], Howards End, The Thin Red Line, Se7en, The Truman Show, Schindler's List, The Silence of the Lambs, Postcards from the Edge, Edward Scissorhands, The Grifters, Waiting for Guffman, Husbands and Wives, and Election.

other "favs" if not all of them as 'respectable':
Death Becomes Her, Babe, Ed Wood, Dead Man Walking, Strictly Ballroom, Tie Me Up Tie Me Down, A League of Their Own, Addams Family Values, Bullets Over Broadway, Reality Bites, Queen Margot, Clueless, Romeo + Juliet, My Best Friend's Wedding, Wings of the Dove, Celebration, The Idiots, High Art, Velvet Goldmine, Run Lola Run, My Own Private Idaho, Priest, The Fisher King, Leaving Las Vegas and The Last of the Mohicans.

P.S. After Jurassic Park (best shot tomorrow night!), I promise we'll leave the 90s behind and come back to the now. So get it all out of your system in the comments!

Previous Top Ten Quickies
1930s | 1950s | 1970s | 1980s

Holly Hunter on HuffPo Live

We've been waiting for twenty-years for Holly Hunter to return to Jane Campion's camera and it's finally happened. The Piano Oscar winner co-stars in Top of the Lake (2013) a miniseries that stars Elisabeth Moss (Mad Men).

She was interviewed on HuffPost Live today and though they ran out of time just as the question & answer period with the assembled writers began, I did win the luck of the draw with the first question... I wanted to know what she attributes that incredible psychic connection with co-stars to. She had it in The Piano without the use of dialogue and it was there in every breath and gesture of thirteen.

The interview is after the jump. 

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