Blue @ 50: Joni Mitchell's Music in Film

by Brent Calderwood

The Kids Are All Right (2010)

“Songs are like tattoos.” That’s according to “Blue,” the title track on Joni Mitchell’s fourth album, which turns 50 this month. A half century after Mitchell wrote and recorded those words, it’s clear that Blue has made an indelible mark on the culture. Songwriters from Bob Dylan (“Tangled Up in Blue”) to Prince (“So Blue”) to Taylor Swift (Red) have acknowledged the influence of Blue’s achingly autobiographical lyrics on their own work. Just last year, Rolling Stone declared Blue the third greatest album of all time. And thanks to scores of cover versions over five decades, two of Blue’s torchiest tracks—“A Case of You” and “River”—have become American Songbook standards. 

No wonder, then, that filmmakers have frequently tapped into Blue, especially for their characters’ most vulnerable moments. While plenty of ink has been spilled over who the songs on Blue are about (James Taylor, Graham Nash, Leonard Cohen), screenwriters and directors often look deeper, mining the songs for what they are about: love, desire, loss, travel, California, Christmas, and much more. 

In honor of the classic album's 50th anniversary, here’s a look at the Top 5 times that songs from Blue appeared in movies… 

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The 2019 Team Experience Awards

It's that time again: the Team Experience Awards! Before Nathaniel starts dishing out the Film Bitch Awards you've all been waiting for, the rest of us at The Film Experience compile our ballots for our favorites of the year in film. This year, Greta Gerwig's Little Women leads the mentions with 11 nominations - but it's Bong Joon-ho's Parasite that is our ultimate runaway favorite. As usual, our ballot features some major divergences from Oscar and some unheralded favorites. Look out for a majority female Best Director lineup, a different double acting nominee than the one Oscar chose, and a few contemporary surprises in the design categories...

Best Picture

1. Parasite
2. Portrait of a Lady on Fire
3. Marriage Story
4. Little Women
5. Pain and Glory
6. Atlantics
7. A Beautiful Day in the Neighborhood
8. Once Upon a Time in Hollywood
9. The Lighthouse
10. Hustlers
    

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Black American Film in 2019

Our Year in Review continues...

by Kyndall Cunningham

It’s hard to summarize the past year in Black American film as smoothly as I could if I was doing so at the end of 2018. It wasn’t just that this year’s most notable critical darlings failed to strike an emotional chord with Black audiences in comparison to recent years. There was also a lot of intense, misguided discourse online about the year’s most highly anticipated studio films like Harriet and Queen & Slim. The best of this year's crop - Fast Color, Luce and Little Woods - flew under the radar due to limited distribution and marketing. Even Jordan Peele’s ambitious Get Out follow-up Us, which was a huge hit, left a lot of people confused about its meaning. Needless to say, it was an interesting way to cap off a decade that slowly gave a new class of Black artists the freedom to make the movies they wanted without catering to a white lens. 

**This is not a comprehensive selection of films**

The Internet’s disdain for last year’s Green Book spurred many conversations about white filmmakers’ ability to accurately portray Black people in their art. So it was interesting that, once again, this year’s most highly acclaimed and talked about Black movies out of prestige festivals were written and directed by white men: Trey Edward Shults’ Waves, Joe Talbot’s The Last Black Man in San Francisco and Craig Brewer’s Dolemite is My Name...

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Most Memorable 2019 Houses

Previously on 'Year in Review'

by Lynn Lee

Domestic spaces in movies can say a lot about the characters who live in them – class, income level, personal history, not to mention personality, tastes, even relationship dynamics (or lack thereof).  But how often does a home take on so much significance it effectively becomes a character in its own right?  2019 was a banner year for that kind of transmutation, as it turns out. 

Here are five homes (or in the first case, an anti-home) that particularly stood out:

5. Charlie’s L.A. apartment in Marriage Story
The nondescript flat Charlie Barber (Adam Driver) reluctantly rents in Los Angeles starts out as almost literally a blank space and quickly becomes remarkable for what it’s not: a home...

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Murtada Gives Thanks

by Murtada Elfadl

This year I'm thankful for these 10 movies that made 2019 a great time at the movies.

Atlantics

For Mati Diop’s audacious jumping without a net storytelling.

Beanpole 

Because it has it all all. Murder, revenge, blackmail and most importantly twisted psychological warfare.

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