Nun vs Monster! Give our '65 conversation a listen.

by Nathaniel R

Who do you suppose was in second place for the Best Supporting Actress Oscar in 1965? We suspect Shelley Winters won in a landslide for her monster mom but perhaps Peggy Wood's Mother Superior was the runner up since The Sound of Music was so massive. What'cha think? We've noticed on the Smackdown posts that y'all don't really comment about the conversation of the podcast itself but just the write-up / blurb portion. We hope you're listening. The panelists (mwah) were super fun and lively. Here is the podcast again embedded below for your pleasure.

Podcast: 1 hour and 15 minutes
00.01 - Introductions: Spencer Garrett, Kayleigh Donaldson, Baby Clyde, Kevin Jacobsen, and Terence Johnson
06:30 - Othello , Laurence Olivier's "blackface", minstrelsy in that era, Dame Maggie Smith in her youth and today, and the documentary Tea with the Dames
27:00 - Shelley Winters in A Patch of Blue -- some people hate the performance, some love it. The movie is more complex than you've heard and an example of the shifting of the 1960s towards more adult themes
38:30 - Natalie Wood's failed Oscar bid for Inside Daisy Clover. A trainwreck of a movie or a fascinating timepiece or both? But it really needed to be a musical. More new Hollywood vs Old Hollywood issues
54:00 - The Sound of Music. Supremely rewatchable. We talk about musical dubbing, our favourite musical numbers, and Julie Andrews Oscar run. Why didn't they nominate Eleanor Parker? 
1:10:00 - Goodbyes and the re-casting game!

listen on iTunes or download right here

Smackdown 1965

Ranking Laurence Olivier's Oscar nominations

by Cláudio Alves

The Supporting Actress Smackdown of 1965 will be up on Sunday afternoon so here's an extra list before we get there. Before each event, I like to watch every nominated movie, even those I have already seen. Because of that, I found myself with the unenviable penance of revisiting 1965's Othello. Many of you surely did the same, exposing yourself to one of Sir Laurence Olivier's most problematic star turns, a Blackface version of Othello. I figured if I was going to force myself to watch this dirge, I should something productive with it. Hence, this write-up, in which that famous thespian's ten acting Oscar nominations are ranked...

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NYFF: "Isabella"

by Sean Donovan

As part of their series of drive-in events, the New York Film Festival programmed Matías Piñeiro’s latest Shakespeare-influenced drama Isabella alongside Pedro Almodóvar and Tilda Swinton’s delicious queer treasure The Human Voice (previously unpacked by Nathaniel). In some ways this choice makes sense: both films relish in vivid expressions of color, the kind of experiences you would want to have in as close to a theatrical environment as we can get right now. But in terms of intensity and impact the films could not be more different, Human Voice’s sledgehammer playfulness is a misplaced introduction to Piñeiro’s foggy and ultimately disappointing drama.    

Isabella is named after the main character of Shakespeare’s Measure for Measure, one of the bard’s ‘problem plays’ positioned awkwardly between comedy and drama. Isabella displays no proclivities towards the comedic, but it may have internalized the problem play position of being stuck between choices and controlled by doubt...

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Showbiz History: Dev Rises, Emma Wins, Walken Dances

8 random things that happened on this day in showbiz history. Does this bring back any memories for you? 

1616 Playwright William Shakespeare dies. 400+ years later his work is still constantly performed.

1928 Shirley Temple born in Santa Monica...

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Stage Door: Bernhardt/Hamlet

by Dancin' Dan

It's a tall enough order to write a play about one of the greatest actresses the world has ever known. It's quite another to write a play about that same actress taking on one of the most famous plays ever written. But Theresa Rebeck has never been one to back away from a challenge. Her delightful new play Bernhardt/Hamlet imagines what it must have been like for the great Sarah Bernhardt to assay the role of none other than Hamlet, all the way back in 1897. To say the least, it was difficult.

Bernhardt (Janet McTeer), in her fifties, was past the point where she could believably play the dying ingénues that made her famous (and also far past the point where she wanted to). Out of money but full of ambition, she decides that Shakespeare's melancholy Dane will be her vehicle for a comeback after her last play, written by Edmond Rostand (Jason Butler Harner), flopped with audiences despite love from critics. But she is having difficulty "finding" the Prince, frustrated by his ease with flowery verse and his inability to take action.

Can a powerful woman play a powerful man? Bernhardt is absolutely sure of it. She says...

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