Beauty vs Beast: Stuck In Mortville

Jason from MNPP here, saying howdy from a steamy-as-Hell Monday in New York. The heat reminds me that the Film Experience is celebrating 1977 this month -- 1977 in NYC was the "Summer of Sam," with heatwaves and black-outs and serial killing, oh my. We don't have it that bad, thank goodness. Anyway I just recently celebrated the Year of '77 on my own site with a Top 5 but there was one movie I hated leaving off, so let's take advantage of the opportunity with this week's "Beauty vs Beast."

John Waters' Desperate Living was released on May 27th 1977 - sandwiched as it is between Female Trouble (his masterpiece, says me) and Hairspray (his big mainstream hit) Desperate Living often gets overlooked, but it's High Trash Heaven thanks to its two leading ladies, John's manic & marvelous muses of manure...

PREVIOUSLY Sharon Stone achieved near dominace (and she wouldn't want it any othe rway) with last week's Basic Instinct poll - she topped Michael Douglas (ahem) with nearly 92% of the vote! Said forever1267 and Ryan Murphy, heed our call!):

"Such delicious filthy trash Brilliant movie movie dialogue, and that all empowering Scene. The only person in that room with power is wearing white... and nothing else.

Sharon really should chat up Ryan Murphy."

Beauty vs Beast: Girl-On-Girl Power

Jason from MNPP here feeling sweaty and gross here in the annual inferno named July -- I wish I could say I was using this week's "Beauty vs Beast" to cool us down but instead I'm turning the heat up up up thanks to today being the 78th birthday of the spicy Paul Verhoeven, helmer of the hotly anticipated rape-revenge thriller Elle with Isabelle Huppert, and of legendarily epic dumpster-fires (a term I use in this context with extreme admiration) like Showgirls and Starship Troopers and today's honoree, 1992's Basic Instinct. Muy caliente! So everybody slip off your underpants (if you're wearing any), straddle your favorite gal-pal in the bathroom, and help me slash away at this one...

PREVIOUSLY Anticipating this past weekend's Ghostbusters we hit rewind to Paul Feig's last great comedy Spy, forcing you to choose between Head Funny Lady Melissa McCarthy and Supporting Funny Lady Rose Byrne - well it was as called in these parts a total Supporting Actress Smackdown, with Byrne slinking off with 73% of your votes. Said Jakey:

"What a stupid fucking retarded poll."

HBO’s LGBT History: If These Walls Could Talk 2 (2000)

Manuel is working his way through all the LGBT-themed HBO productions...

Last week we looked at a number of HBO TV episodes from 1998 (wasn't '98 the gayest?) that gave us a broader cross-section of gay men on screen than the AIDS victim/activist/mourner trifecta we had so grown used to in the HBO films of the early 1990s. Today, we turn our attention to HBO’s first openly didactic piece of LGBT filmmaking with an anthology film helmed by a group of female writers and directors that aimed to trace a (narrow) history of the (white) lesbian experience in the twentieth century.

If These Walls Could Talk 2, much like the anthology film that gives it its name (they’re not really sequels per se, the first dealing with unwanted pregnancies), is comprised of three stories set in the same house and dealing with the same issue: namely, lesbianism. Taken together, the three short films that make up the piece (set in 1961, 1972 and 2000) track a by now familiar narrative of lesbian representation. The melodrama of the early 1960s, steeped in silence and euphemisms, gives way to a romance set against the backdrop of the vexed relationship between lesbians and feminism in the 70s, ending in a “new normal” vision of lesbian parenthood. Schematically we move from a couple to a community and then to a family. A fascinating progression but one which seems much too facile, especially when the first entry is by far its most rewarding. [More...]

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Podcast: Pre-Nom Party, Bring Your Own Dream Date

Confetti gun - it's the final pre-nomination podcast episode of the season with Nathaniel, Nick, Katey and Joe. This installment, recorded last week but airing now due to jammed schedules is not a "prediction" session. That would be rendered meaningless come Thursday morn. Instead we've opted for a rambling festive discussion of general Oscar feelings... all the feelings. This podcast is dedicated with love and fan-fic to Sharon Stone and Jessica Lange chief among many others*

00:01 Intro + Golden Globe prep
03:00 Imaginary couples via Charlize + Sean rumors
10:00 Supporting Actor plus James Franco
14:00 Actress Lockdown vs. Actor Free-For-All
19:00 Cinematography/Costumes: Gravity, Grandmaster, Her, The Invisible Woman, Great Gatsby and more...
24:30 Out of the Furnace tangent
26:00 Original Score: Hans Zimmer, Desplat, Newman, Arcade Fire
32:00 Foreign Finalists but why no Gloria? >sniffle<
36:00 Documentary: Blackfish & Tim's Vermeer hate, 20 Feet From Stardom love
46:00 Dream dates for red carpets
51:00 Bye-eeeeee

*you know how we do with the actresses

You can listen to the podcast right here at the bottom of the post or download the conversation on iTunes. 

P.S. Here's the skit that Joe refers to wherein Gwyneth Paltrow poked fun at Sharon Stone.

Pre Nom Party. Bring Your Own Dream Date

Scorsese's Women. Scorsese's Best.

There are times when Margot Robbie's beauty feels so glossy and airbrushed in The Wolf of Wall Street that she feels almost CGIed in. But, as previously mentioned, Robbie seems to have shaken off whatever dullness once clung to that considerable if generic Barbie Doll beauty. Her Naomi LaPaglia is a hungry performance. It's not just Jordan Belfort that'll be opening the wallet and offering her everything, but Hollywood proper. Expect her to be rumored for every role in her age bracket in 3...2...1...

Scorsese has a long history of vivid supporting women in his movies. And yet, the women in his movies trouble me. They often pop but that isn't necessarily a tough assignment for a beautiful woman to clear, especially when she's the sole woman in a sea of somewhat interchangeable men, the men often playing variations on the same type within their rigidly masculine conformist communities.

Which is to say that Scorsese's films are never about the woman even when they're inordinately feminine (The Age of Innocence). Perhaps Alice Doesn't Live Here Anymore is a glorious exception but couldn't it be argued that that fluke sprung from Scorsese's obsession with film genres (let's try a 'woman's picture' this time) more than anything else? [more...]

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