Gentlemen Prefer Blondes - An Appreciation

[Editor's Note: Last winter when Michelle Williams was in theaters cooing as "Marilyn", I had planned on a Marilyn week. It didn't happen but I wanted to share this piece by our once in a blue moon contributor Ester Bloom because I, too, adore this movie. - Nathaniel]

'Say, they told me you were stupid!'

'I can be smart when it’s important, but most men don’t like it.' "

Marilyn Monroe is not so different from Lorelei Lee, the part she plays in Gentlemen Prefer Blondes. Both are entertainers from small towns who started out poor but are determined to transcend their origins; both turn themselves into sexy cartoons; both play dumb when necessary; and both perform under alliterative pseudonyms that are as girly as all get out. (Compare the name “Lorelei Lee” with that of her friend “Dorothy Shaw.” The difference tells you almost everything you need to know about their characters.)

Maybe Monroe recognized a kindred spirit in Lorelei Lee...

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Why, O Why, Don't I Love "Paris"?

Hallo folks! Ester here. You might remember me from such previous forays into Film Experience as my "Reader Spotlight" and my Two Stars, One Slot tribute piece, "Waif vs. Waif: Mia Wasikowska vs. Saoirse Ronan." Today I come to you with a feminist chip on my shoulder and a spark of rage in my eye, and my target is Woody Allen -- specifically his tepid time-travel fantasy, Midnight in Paris.

It's not surprising that Hollywood, the quintessential vehicle of nostalgia, is obsessed with landmarks. Jack Nicholson has only to get up in the morning and put his shoes on the right feet four shooting days out of five to get nominated for an Oscar, because Hollywood is just so gosh darn grateful an old-school movie star like him is still gracing films with his presence. Similarly, Woody Allen has only to make a movie that is not truly godawful terrible to make every film critic in the US sigh happily about how the maestro has done it again. 

Even then, by the way, he still makes several insufferable stabs at cinema for every Vicky Cristina Barcelona (or Scoop, which I actually kind of enjoyed).  

I understand the impulse to make ourselves hoarse praising the man. After all, we're talking about Woody Allen, auteur extraordinaire, Oscar-winner, redefiner of comedy, granddaddy to a thousand less-talented copy-cat narcissists. He's so prolific he probably doesn't even remember making one of my favorites of his films, the wistful and imaginative Purple Rose of Cairo. (Such small, delightful movies are often called "gems," which confuses me as gems come in all sizes; in fact, a woman I know recently received one that may weigh more than she does. But that's neither here nor there.)

Friends, a mediocrity is a mediocrity, whether it comes from Shakespeare or Dan Brown. Why do we insist on grading Woody Allen on a curve?

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Waif vs. Waif: Mia Wasikowska vs. Saoirse Ronan

[This guest post is from Ester Bloom, recently reader-spotlighted. She and I were speaking off-blog about how much we missed the old shuttered website Fame Tracker. Ester whipped up this homage to one of their best series "Two Stars: One Slot". We hope you enjoy. -Nathaniel R.]

Battle of the Stars With Unpronouncable Names

Mia & Saoirse on May 2nd, 2011 at the Met Costume Gala

Saoirse (“Sur-shuh”) Ronan and Mia Wasikowska (“Vash-i-kov-ska”) burst upon the scene at roughly the same time: In 2007, S. Ronan lent much-needed eeriness to Joe Wright’s Atonement in her first major role and received an Academy Award nomination. In 2008, Mia W. elevated both the HBO series “In Treatment” and the Daniel Craig vehicle Defiance, earning a place as one of Variety magazine’s “Actresses to Watch” in the process.

Since then, neither actress has sat on her hands. S. Ronan gave critics something to praise about Peter Jackson’s misconceived but lush adaptation of The Lovely Bones. Mia W. brought gravitas to Tim Burton’s misconceived but lush adaptation of Alice in Wonderland and helped made 2010 The Year of the Teenage Virgin with her role as the daughter in Lisa Cholodenko’s The Kids Are All Right.

Mia W. skipped ahead with a career-defining turn as the fierce, independent, young star of Jane Eyre, matching the intensity of Michael Fassbender. S. Ronan caught up by embodying another titular character: the fierce, independent, young star of Hanna, where she matched the intensity of Eric Bana and Cate Blanchett.

Mia as "Jane Eyre" & Saoirse as "Hanna"

Both parchment-skinned, fiery-eyed women hail from the former British Empire: though S. Ronan was born in New York, she was raised in Ireland, and Mia W. is from Canberra, Australia. They are only five years apart in age, and in many ways they could be sisters: they share a self-possession and a grace not easily found among Hollywood starlets. (Try to imagine either of them falling out of a limo, half-dressed.)

But where do they go from here? S. Ronan appears later this year in another popcorn flick about teenage assassins called Violet and Daisy directed by Geoffrey Fletcher (an Oscar winner for the screenplay of Precious). It could be good—Hanna is good, anxiety-inducing fun—but the presence of Alexis Bledel as a co-star doesn’t inspire confidence. After that, S. Ronan will return to form (and to screen with Cate Blanchett) in another, hopefully better, Peter Jackson vehicle, The Hobbit.  

Mia W. has chosen a more indie route, joining the crew of Gus Van Sant’s Restless and Rodrigo Garcia’s Albert Nobbs, as well as several other small-budget projects. 

Both of these steely sylphs have it in them to succeed despite their tongue-twisting names. Who has the edge? S. Ronan’s Hanna scared the bejesus out of audiences and Manohla Dargis, and she is already one of the youngest actresses to get an Oscar nomination; she has proven she can play to the mainstream and to art houses. Mia W. could manage a Best Actress nod this year for Jane Eyre and has plenty of other roles that will be catnip to Oscar on the horizon, but she hasn’t yet proven her box office chops. We have faith in both and this could easily be a draw, but Mia W., with more serious projects coming up, gets the edge.

Advantage: Mia W.