Ellen Mirojnick: From "Fatal Attraction" to "Oppenheimer"

by Cláudio Alves

There is little heroic about J. Robert Oppenheimer, whether in real life or on the big screen. Yet, in Christopher Nolan's latest, the commonplace act of getting dressed for the day is treated with the gravitas of a superhero movie's "suit up" scene. If nothing else, the moment highlights Ellen Mirojnick's work, another feather in the costume designer's cap. As with every one of the picture's elements, each choice is carefully deliberated, a negotiation of intimacy and immediacy that tries to transmit a first-person take on the period film. Two-piece tan suits rhyme with sky blue shirts, echoing the Los Alamos landscape, while a turquoise-inset silver belt buckle and porkpie-crowned cowboy-rimmed hat wink at Western iconography. It's a uniform as much as a costume, the men's "mythic look" as described by Mirojnick, who kept hats out of the other character's looks to make her protagonist stand out. 

This could be a lucky year for Mirojnick, awards-wise. Oppenheimer just might result in the designer's first Oscar nomination. Considering her vast career, it's hard to believe she's yet to be honored by the Academy…

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Today in Oscar History: Mrs Miniver, Shape of Water, John Garfield

On this day, March 4th, in Oscar history only...

1937 The 9th Academy Awards are held honoring the best of 1936. Historical epic Anthony Adverse wins the most Oscars (4) but showbiz biopic The Great Ziegfeld takes Best Picture. Some interesting things about this Oscar year: This was the first ceremony with the Supporting acting categories; My Man Godfrey became the first film nominated in all four acting categories and it remains the only film to achieve that without a parallel Best Picture nomination; The Story of Louis Pasteur earned the very weird now impossible distinction of being named both "Best Original Story" AND "Best Adaptation"... the "Best Original Screenplay" category was not yet invented and it did not technically replace "Best Story" as they ran parallel for the first 16 years of Best Original Screenplay...

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That scene from "Unfaithful"

by Cláudio Alves

Oscar voters aren't the greatest fans of erotic thrillers. Despite that, there are some times when a cinematic achievement is so undeniable that AMPAS' usual prejudices are thrown out the window. One good example is Adrian Lyne's Fatal Attraction, a cultural phenomenon that, in 1987, managed to nab six Academy Award nominations, including for Best Picture and Best Actress. Years later, another of Lyne's erotic reveries would be honored with an important nod, though this time it was just in the Best Actress category. The picture was 2002's Unfaithful and the actress was Diane Lane delivering one of the most magnificent performances of her career. Her work as Connie Sumner is a masterclass in sexual discovery and abandonment, guilt, and desire.

If for nothing else, Lane earned the nomination for a scene in the middle of the movie, when her adulterous character is returning home by train, after her first tryst with Olivier Martinez's sexy bookdealer…

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Once Upon a Link

• Variety Lee Pace talks about his new projects and a possible Pushing Daisies reunion
• IndieWire wait, what? Is this the 1990s again? Adriane Lyne (Fatal Attraction, Unfaithful) is making a new erotic thriller. It's called Deep Water and Ben Affleck and Ana de Armas are set to co-star
•  /Film Disney animators have "huge resentment" of the new Lion King... and with good reason, too

After the jump an Academy election, Kelvin Harrison Jr, Meryl Streep screaming, and lots of fascinating thoughts on Once Upon a Time in Hollywood...

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Oscar Horrors: The Dangerous Editing of "Fatal Attraction"

Boo! It's a bonus episode of "Oscar Horrors". We're looking back on horror-connected Oscar nominations until Halloween. Here's Daniel Crooke on a Best Picture nominee's brilliant rhythms

Fatal Attraction wants you to keep your doors locked; it gets off on invasion. On lulling you into a false sense of security, sneaking in through the back gate, and shredding the nerves of you and everyone inside while it wreaks increasingly deranged havoc with maniacal glee. Such manipulation is not only the mark of a great psychopath but of a great editor, as well. In Fatal Attraction, you’ve got both; Glenn Close’s rhapsodic performance as jilted stalker Alex Forrest slashes at unexpected intervals but she meets her match in the finely screw-tuned cuts of Michael Kahn and Peter E. Berger. Adrian Lyne’s classic cautionary tale of infidelity gone wrong and what happens when you turn down someone’s invitation to the opera goes for the jugular (and the groin and the brain) but it’s up to Kahn and Berger to keep your guard down, raise the hairs on your neck, and provide a clear path for Close to sneak up behind you with the knife.

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