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Entries in Shirley Maclaine (28)

Monday
Apr242017

Beauty vs Beast: Look Who's Still Here

Jason from MNPP with our weekly "Beauty vs Beast" fun-time - I'm surprised it didn't occur to me to do this one at the start of this year when we were mourning the epic loss of both Carrie Fisher and Debbie Reynolds (I even re-watched this film at that time) but perhaps the pain was too much. Anyway as Nat told you earlier it's Shirley MacLaine's birthday so the right time has revealed itself, and today we'll tackle Mike Nichols' glorious 1990 comedy Postcards From the Edge, starring MacLaine and some Meryl woman, based on Fisher's thinly veiled book about a drug-addict actress and her let's-say-ebuillent actress-mother. Mother-Actress? Actress-Singer-Mother? Well that's the question, isn't it?

PREVIOUSLY I'm shocked and flabbergasted by you people - hasn't Jennifer Garner suffered enough? We wished her a happy birthday last week with some 13 Going on 30 love and y'all rejected her star-making performance for Adorable Mark Ruffalo. I... well he is pretty damn adorable. Said Dave S:

"Ruffalo in this movie is top-tier among underwritten love interests; I think him ceding the stage for the female lead is actually a point in his favor. He gets to fill the somewhat vaguely defined dream guy role in a way we're more used to seeing actresses relegated to. See also: Aidan Quinn as the projectionist in "Desperately Seeking Susan"."

Monday
Apr242017

OTD: Babs, Shirley, and "Cool" from West Side Story

On this very gay day (4/24) in history as it relates to showbiz...

1873 Silent film director Robert Wiene, best known for The Cabinet of Dr Caligari (1920) born in Breslau (Note: other online sources disagree with the IMDb on this birthdate but it's always fun to think about Caligari)

1927 Oscar winning cinematographer Pasqualino de Santis born in Italy. Classics include Romeo and Juliet, The Damned, Death in Venice, and L'Argent

1930 Richard Donner, superstar director/producer of the 1980s, behind films like The Goonies, Lethal Weapon, and the first two Supermans. Apparently retired after 16 Blocks (2006) with Bruce Willis

1931 The Public Enemy starring James Cagney and Jean Harlow was enjoying its opening weekend at movie theaters. It was a big hit, ending in the top ten of its year. Variety claimed it was "low brow material" attempting to be high brow by its craftsmanship. If only critics knew in the moment -- they almost never do even now -- that "low brow" genres regularly produce classics.

Click to read more ...

Saturday
Mar252017

Links: New Musicals, Life Tips, Netflix vs Hollywood

Variety Cher has dropped out of her expected return to acting with Flint, a TV movie about the water crisis in Michigan citing "serious family issues" (sending her good vibes)
Coming Soon Joseph Gordon-Levitt & Channing Tatum will team-up for an R rated jukebox musical called Wingmen about two pilots who crash land in Vegas
Variety Lola Albright film actress of the 1940s and 1950s and know for TV's Peter Gunn has died at 92

NPR there's a way to search IMDb now for movies that are female created or female focused... but it's tricky
Vanity Fair life tips from Shirley Maclaine
/Film Soderbergh's Cinemax series The Knick has been cancelled. :( 
AV Club Wonder Woman pees fire
Interview shares an old interview / photo session of Penélope Cruz from '99
Playbill recaps 'everything we know (so far) about Mary Poppins Returns' but they leave out the most important news that we covered here that the world's best costume designer is behind the new magical nanny looks 
Playbill Kelli O'Hara singing "Toyland" - staged concert version coming up in April
Guardian can Hollywood fight back against Netflix who wants us to get over our "romantic" notions of moviegoing. NEVER, NETFLIX, NEVER.
CHUD 'movies no one mentions' on Copycat (1995). Uff, I miss Sigweavie & Holly leading movies
Screencrush new Spider-Man: Homecoming poster, Spidey just chilling (note Avengers tower in the background)
Tracking Board Robert Rodriguez to direct a remake of John Carpenter's Escape from New York (1981) 

Thursday
Mar022017

Random Leftover Thoughts from Oscar Night...

by Nathaniel R

Yes, I'm trying to stave off the annual Post Oscar Depression. It's a real thing even if the medical community doesn't yet recognize it. So herewith some random final screengrabs from Oscar night and accompanying thoughts on topics we haven't totally covered yet over the past 3 days of Oscar reactions, recapping, post-mortem. (I promise we'll quit with Oscar 2016 by tonight and move on to other topics for those of you who've already moved on)

Click to read more ...

Friday
Dec302016

Happy New Year: "The Apartment" (1960)

by Chris Feil

The week between Christmas and New Year’s can be a disorienting time - an inescapable amount of parties, reflections on the closing year, and hope for the one to come. For the more somber sort, it’s the feeling of being alone in a series of crowded rooms you can’t escape. New Year’s Eve is simply the worst holiday - like “Auld Lang Syne” it proposes joy and companionship, but always comes up feeling solemn.

Such is the emotional terrain of Billy Wilder’s classic romance The Apartment, a very best Best Picture winner. In its indifferent, wintery New York City, it’s easy to feel isolated and cast aside when everyone else goes on about their lives - but the very thing that sets you apart is what will make you feel less alone when you see it reflected in another person. The film is all the more romantic for being a love story for the melancholy, its soaring hope all the more hard won and transformative.

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Monday
Aug292016

Wild Oats Poster & Trailer

by Manuel Betancourt

Shirley MacLaine and Jessica Lange are in a movie together. It's called Wild Oats and it was directed by Andy Tennant of Fools Rush In and Sweet Home Alabama fame. You can see why this news is vexing. We should be thrilled about seeing MacLaine and Lange together (in a comedy no less!) but it might not be a great addition to this growing "Old dames having a ball!" genre that's become a staple of late. 

The film, which follows the two Oscar winning actresses "newly rich" (given a banking error in one's husband's insurance policy), "newly single" (see above), and "forever young" (they're timeless, these glittering movie stars) looks to be a tad more Hello My Name is Doris than I'll See You In My Dreams, with a whiff of The Exotic Marigold Hotel. Oh, and did I mention it co-stars Demi Moore? 

You can check out the trailer for Wild Oats, which I'm still processing, below. Does it look like a film you'd change the channel for? Perhaps. But I admit that the "Have you ever seen The Graduate?" line had me smirking to myself, and few things are as entertaining as seeing actresses you love having a good time on screen.

Wednesday
Jul272016

HMWYBS: "The Turning Point"

Bancroft & Maclaine reminisce in The Turning PointBest Shot 1977 Party. Chapter 2
The Turning Point (1977)
Directed by: Herbert Ross
Cinematography by: Robert Surtees

When The Turning Point is remembered today, on the rare occasion that you hear it name-checked, it is nearly always in connection to its status as Oscar's all time loser (11 nominations without a win). That "achievement" was later shared when Steven Spielberg's The Color Purple (1985) met the same Oscar fate, entering the competition as a very big ticket and coming away empty-handed. It's surely no coincidence that both films are women's pictures. Oscar has grown increasingly wary of films about and for women over their 88 year history; that's not a mark on the films themselves but a stain on film culture and the Oscars. 1977 was in some significant ways, the very last Oscar year to be dominated by women. The sole "boys" movie up for the top prize was Star Wars, which perhaps also not coincidentally became the film which most Hollywood films aspired to be thereafter. Yes, 80% of the Best Picture nominees in 1977 were actually about women. Can you imagine it?!? That's a huge percentage which has, alas, not happened again in the 39 years since. Most Best Picture years since have been the reverse of those numbers, when in a more sane world it'd be about 50/50 since, you know, that's actually how the human race breaks down. 

Bronze. I think this is trying to be the film's signature image, but there are two many climaxes preceding it and following it to quite pull it off.

But now we're straying into Oscar stats when what we really want to talk about is this ballet melodrama and its gauzy prettiness. Worthy of 11 Oscar nominations? Surely not but that's not because of its subject, its genre, or its cast of accomplished women... 

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