Soundtracking: "The Rose"

by Chris Feil

History may never let us forget that The Rose began as a Janis Joplin biopic before objections from her family and even its eventual star, Bette Midler. And sure, the similarities remain: a tragic end after a life of drugs, booze, and emotional bruises so deep that they bled out into the vocals.

But the unfortunate side-effect of the Joplin adjacency is that Midler’s achievement is overshadowed in the public consciousness. It’s Joplin as template only and its songs are nearly all covers of other blues and rock artists, and still Midler creates her own unique persona and musical identity. When so many actual biopics fail to discover the inner humanity of an artist, she ends up capturing the the crushed spirit of an entire genre...

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Tab Hunter (1931-2018)

by Nathaniel R

Tab at the beach in the early '50sApologies that we didn't say our goodbyes to one of Hollywood's best hunks, Tab Hunter, in a timelier fashion.

Tab's real name was Arthur Kelm but back in the studio days almost everyone got a catchier name to boost their celebrity appeal... and you can't really beat Tab Hunter for a memorable name, can you? (Sometimes we wonder why actors don't do that now. Benedict Cumberbatch as a stage name and so many actors use their real names even if their real name is  long and hyphenated and hard to imagine on a marquee!).

Though born in New York his sun-kissed blonde beauty was a perfect fit for sunny California and Hollywood and he rose through the ranks quickly in films. Despite a few well regarded performances peppered throughout his career he was never considered a particularly strong actor and his fame diminished with time. Until recently but we'll get to that in a minute.

Tab Hunter and Dorothy Malone in "Battle Cry" from 1955, the year that made him a big star.

Yours truly first learned of him in the 1980s due to young me's obsession with Natalie Wood (my first actressexual fixation). The studio though they'd make a terrific onscreen couple and threw them together for back-to-back pictures in 1956 -- Burning Hills and The Girl He Left Behind -- because each had had big hits the year before. Teenage Natalie, already a star, was hot off of her first Oscar nomination for Rebel Without a Cause, ample proof that her child-star status would transfer well to adult stardom. Tab had had two huge hits in 1955 (Battle Cry and The Sea Chase). While his films didn't endure like Natalie's (with the arguable exception of Damn Yankees!), Warner Bros was passionate about his bankability...

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If only voodoo dolls were real...

Michelle Pfeiffer as the sorceress "Lamia" in Stardust... think of all the practical applications during this particular precipice in human history. 

Moulin Rouge!'s Stage Life Begins

by Chris Feil

We've long been awaiting Baz Luhrman's masterpiece Moulin Rouge! to fulfill the seemingly ancient prophecy to make its way onto the stage. Well, that day has finally arrived as the musical's pre-Broadway tryout begins tonight at Boston's Emerson Colonial Theatre.

We have already been teased by Aaron Tveit singing the epic love song "Come What May" in a foggy theatre, but now we have the real goods we've been dying to see: Karen Olivo stepping into the large shoes of Nicole Kidman as the sparkling diamond Satine and a theatre completely transformed to Luhrman excess. While Olivo's costume (designed by this year's My Fair Lady Tony winner Catherine Zuber) might be somewhat understated from what we might have been hoping to see, we're confident there is further opulence coming once we see what the rest of the show has in store. As for the set, hold on to your hats...

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Doc Corner: Kimberly Reed Returns with 'Dark Money'

by Glenn Dunks

Talk about a sharp turn. Director Kimberly Reed is best known for her 2008 feature Prodigal Sons, an autobiographical documentary about Reed’s journey as a transgender woman returning home to her small town high school reunion where she not only must confront the people who knew her as a football quarterback when living as a male, but also the strange story of her adopted brother’s newly discovered heritage to Orson Welles and Rita Hayworth and his declining mental health. It was an astonishing film and one that The Film Experience loved and covered at the time.

In the time since, Reed brought her story to audiences once more in the opera As One (which I also covered in 2014) as well as produced Paul Goodman Changed My Life and last year’s The Death and Life of Marsha P. Johnson for Netflix. It was a great surprise to me then to discover Reed’s latest film – her first as director for a decade – was a swerve away from themes of identity, gender, sexuality and family, but was instead a piece of investigative political journalism imbued with the narrative thrust of a court-room thriller.

Dark Money examines the various threads that make up the confusing and alarming world of American election campaign financing...

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