Months of Meryl: Music of the Heart (1999)

John and Matthew are watching every single live-action film starring Meryl Streep. 

#27 — Roberta Guaspari, a real-life violinist and instructor who brought music education to the classrooms of Harlem.

MATTHEW:  One of the pitfalls that tends to come with occupying such a prominent position in the highly public realm of moviemaking is a gradual inability to disappear into the most straightforward of roles. I’m not talking about the magical acts of self-vanishing that allow Daniel Day-Lewis to seemingly become figures as disparate as Bill the Butcher and Abraham Lincoln nor the larger-than-life personas achieved through virtuosic, full-scale deglamorizations by the likes of Elizabeth Taylor and Charlize Theron, but rather the everyday characters who may achieve great things but whose lives are decisively rooted in reality, their appearances neither remarkable nor particularly conspicuous. No matter how hard a performer tries to shed her star persona and immerse herself in distinctly un-Hollywood settings, it is often up to us, the viewers, to forget everything we know about a star in order to actually believe her as, more or less, one of us...

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1994 Q&A: Frankenstein, Weaver, Past Glories, Future Nominations.

Okay, our last dive into 1994! I recently asked readers to send in their '94 related questions (other questions will still be answered but that's for the next Q&A). So here's our final pontifying for that year. You asked, I answer. 

JAMES: 1994 was the year of Frankenstein, the movie that led to Emma Thompson and Kenneth Branagh splitting up, due to his affair with HBC. Thoughts on Thompson & Branagh’s (professional) partnership? What projects would they have excelled at if they stayed together?

"IT'S ALIVE!" Or, rather. "IT'S DEAD!" Emma and Kenneth. Kenneth and Emma. Sigh. Insert broken heart emoji. Young Nathaniel was so sad when they split. They were the Definitive Early 90s 'It Couple: UK Edition. That was such an awesome cinematic partnership. I adored their over-the-top genre mashup and reincarnation chutzpah in Dead Again and their luminous Shakespearean comedy in Much Ado About Nothing.

If you think about it Frankenstein, with its pulp grotesqueries, and bodice-ripped lustiness is absolutely the work of the same guy who made Dead Again. I miss that Branagh, still...

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Months of Meryl: One True Thing (1998)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

#26 — Kate Gulden, a suburban wife and mother dying of cancer.

JOHN: Here’s one true thing: Carl Franklin’s One True Thing is neither a Lifetime movie, an extended soap opera, nor a “chick-flick.” One True Thing is, in fact, a melodrama centered around a middle-aged woman dying of cancer, embellished with music and openly soliciting your tears. The maternal melodrama, a genre which Streep has revisited frequently, remains near the bottom of the genre totem pole, regularly maligned and dismissed by critics for all their attributes: it is proudly emotional, scored and scripted to produce waterworks, and an undisguised movie, unconcerned with presenting realism through its formal elements. One True Thing, like most contemporary maternal melodramas, is familiar and stylistically plain, and the film is admittedly hampered by a hackneyed framing device, but it also takes seriously issues central to women’s lives, exploring a mother-daughter relationship and issues of long-term marriage, especially the concessions made and female labor expended in keeping a household running smoothly. One True Thing deserves to be taken as seriously as Saving Private Ryan or any other masculine meditation on violence released in 1998. To immediately write off the film, and the genre to which it belongs, is to devalue and belittle the feminine concerns it explores...

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1994's Unsatisfying Best Actress Race

1994 was our year of the month for June so before the month closes, a couple of more forays into that year. Here's Nathaniel R responding to a reader request during the Supporting Actress Smackdown to discuss the actual leading nominees.

It's an age old question and the answer is (nearly) always the same. 

Q: What happens when all the best stuff in a film year is within genres Oscar doesn't care for?
A: The Academy sticks to their traditional loves even if it means providing history with a weak shortlist that they'll judge harshly!  

Some recent years have suggested that Oscar is loosening up in this regard. The swell of new members might be helping along with the increased visibility of critical passion (the plethora of precursor awards constantly saying "but this is great! won't you please look at it?" seems to have shifted Oscar voters a bit more towards critical passion and away from "Oscar Bait"). But overall they stick to what they love (dramas, message movies, epics, biopics, etcetera). This is especially true of the Acting branch which rarely met a teary face it didn't fall for and continually sticks up its nose at laughing or screaming or unusual faces given their aversion to comic genius, horror films, and auteur experimental or sci-fi/fantasy work. Which brings us to 1994's BEST ACTRESS LIST...

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Smackdown '94 Finale: "Pulp Fiction" and "Bullets Over Broadway"

THE SMACKDOWN IN THREE PARTS
• Written Blurbs & Reader Votes
• Podcast Pt 1: Tom & Viv and The Madness of King George
...and now the finale!

FINALE (40 MINUTES)
The group discusses Jennifer Tilly's outrageous comic triumph in Bullets Over Broadway and why the Broadway musical adaptation didn't work. We also revisit the cultural impact of Quentin Tarantino's Pulp Fiction and Uma's place in its success. Other films briefly discussed: Three Colors: Red and Natural Born Killers. Nathaniel thanks this month's terrific panel: Erik Anderson, Nick Davis, Itamar Moses, and Alfred Soto!

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? 

Bullets Over Broadway, Pulp Fiction