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Entries in Sofia Coppola (42)

Monday
May202019

Beauty vs Beast: Still I Think He's Rather Tasty

Jason Adams from MNPP, fully ready to admit that if you get me drunk enough and put me in front of a karaoke microphone I could sing to you any one of the songs from 1992's Aladdin without having to look at the words on the screen once. I don't know if that's what Disney had in mind but it is what it is and it is how I spent a hefty amount of my time, when I should have been studying, in college. I might not remember anything from that Geology class I was forced to take at nine in the morning but get outta the way when "A Whole New World" comes on. Anyway with Guy Ritchie's live-action version out this Friday, and a retrospective from Team Experience beginning tonight, what better time to "Beauty vs Beast" the original -- I'm shocked we haven't done this before honestly, since Aladdin's got one of Disney's greatest villains...

 

PREVIOUSLY A week ago we wished Sofia Coppola a happy birthday by looking back upon her last film Beguiled, and today we're minded what a fool's errand it is for us to ever face anybody off with Nicole Kidman -- even Colin Farrell's hotness couldn't muster up more than 29% against the queen Kidman. Said Ben:

"Miss Farnsworth is the only one who thinks primarily with her head instead of her heart. That's why the only logical thing to do was to cut off his leg, then kill him. Makes sense to me!"

Monday
May132019

Beauty vs Beast: The Kindness of Strangers

Jason Adams from MNPP here, using this week's brand new "Beauty vs Beast" poll to celebrate the 48th birthday of the great Sofia Coppola, which is tomorrow. We are so lucky to have her! Quite honestly I think the world's been under-valuing her directing career, which's given us one great film after another after another. Her last one, 2017's remake of The Beguiled, is where we're focusing today -- another entirely under-appreciated one if you ask me. While I've long been a fan of Don Siegel's sweaty 1971 version I consider Coppola's an improvement for how it spins itself off into a gothic fable of female empowerment gone to seed. It feels like a sister film to Nicole Kidman's other movie about haunted folks isolated during war-time, The Others -- seriously, go watch them back to back. That'll be an excellent evening at the movies. But until then...

 

PREVIOUSLY
Switching over to the Elder Coppola, it turns out it was too tough for us to vote for a war-mongering maniac with last week's Apocalypse Now poll, even when he's played by Marlon Brando -- Martin Sheen's "Captain Willard" managed to score 57% of your vote instead.

Summed up by Tom G:

"Shouldn't we NOT be voting for crazy people with too much power?"

Wednesday
Apr252018

Soundtracking: "The Virgin Suicides"

Chris looks at the music of Sofia Coppola's debut, now a part of The Criterion Collection.

Time has been kind to Sofia Coppola The Virgin Suicides, as effective a critique on the male gaze as anything else in the past twenty years. In Coppola’s gauzy vision of its central Lisbon sisters (as told by neighborhood boys) is a reflection of male idolatry that ignores the voice and emotional reality of real women. While the film is typically remembered for how it visually creates this perspective, it also uses music in interesting ways to subvert male self-serving worship.

The film is haunted by Air’s “Playground Love”, it’s most evocative and film-defining musical passage. It’s an apt song choice, one that tempts you into its pull like the tumble into a teenage crush, all jazzy hormones mired in lyrical thinness. And yet despite its temptation and seemingly feminine sway, its a starkly male brand of lust and the woman on the other end of its proclamations is never more than a vague idea. Naturally, it becomes the theme song to its young male obsession with the unknowable and unknown girls on the receiving end of empty crushes. Coppola sees and hears your  horniness and you willful ignorance, gentlemen, and the film sends out a subtle and cutting middle finger.

Click to read more ...

Wednesday
Jan032018

Interview: on the Ghostly Costume Design of "The Beguiled"

 by Nathaniel R

The costume designer Stacey Battat has, to date, worked mostly in female-oriented contemporary indies. That's quite a perfect niche to build a design career from. Or at least it is when the women who've visually helped define your early work are such stylish talented icons themselves. Battat first made her mark on two Parker Posey features in the late Aughts (Broken English, Happy Tears). Soon after she was deep in the Julianne Moore business (Still Alice, Freeheld, What Maisie Knew). Other credits include The Disappearance of Eleanor Rigby: Her and Him and Mozart in the Jungle but it's been her partnership with writer/director Sofia Coppola that's come to define her young career.

The two began working together on the LA dreamy Somewhere (2010). Battat proved invaluable to all the fashiongasms of Coppola's arguably most underrated feature The Bling Ring (2013). Then came an atypical challenge: a forgotten girls school deep in the Civil War era.

I spoke with Battat recently by phone to talk about one of the most visually striking films this past year, The Beguiled, and what she brought to it. Our interview, edited for clarity and length follows...

Click to read more ...

Thursday
Dec072017

Rob's Got Whosits & Whatsits Galore

by Jason Adams

I'm still traumatized (yes I know that's a strong word, but I need a strong word to get across the scope of the trauma) by the fact that we won't be getting Sofia Coppola's version of The Little Mermaid, so perhaps I'm not the best person to report this news, but here we are. Rob Marshall, the man who inflicted Nine upon the world, has according to Deadline been offered the gig of updating the Beloved Disney Classic to live-action. They say he will make up his mind over the holidays...

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Monday
Oct162017

The Furniture: A Plaster Haze in The Beguiled

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Sofia Coppola’s The Beguiled is no sprawling epic of the Civil War. The Farnsworth Seminary for Girls, where Miss Martha Farnsworth (Nicole Kidman) presides, is no Tara. There are no ballgowns or battlefields. There is only a big lonely house, the seat of a plantation that has decayed into an isolated finishing school for an especially isolated handful of girls.

Corporal John McBurney (Colin Farrell) is thrust into this setting, his leg wounded and his uniform bloodied. The resulting tension simmers for days, weeks even, before exploding in nocturnal chaos and violence. All the while the house stands silent, forcing these emotions up and down the stairs and into small, dimly-lit corners. There is a forever haze about this place, though never quite hot enough to break into a sweat.

This tightly-knotted mood owes a great deal to production designer Anne Ross, a frequent collaborator of Coppola’s, as well as art director Jennifer Dehghan and set decorator Amy Beth Silver...

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