Cannes Diary #7: Park and Cronenberg are back with incredible movies

by Elisa Giudici

The masters are back with masterful movies! Seeing Park Chan-wook’s Decision to Leave followed by David Cronenberg’s Crimes of future with only a 20 minutes break between them seemed almost a waste. These two are among the most (rightfully) hyped movies of the entire year and of this Cannes edition. I really wanted some time after the first especially to think fully on what I had just seen, savoring the first impression instead of deep diving into an equally immersive but radically different film experience. Especially considering that one of the two is a perfect movie, a rare five out of five stars, 10 out of 10, or whatever other token of appreciation you can imagine.

Those two films and a new French movie after the jump...

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When Thelma Ritter should have won

by Cláudio Alves

Before "Noirvember" ends, it's imperative to explore some examples of the shadowy underbelly of Classic Hollywood. The Criterion Channel has programmed a vast array of film noir offerings, from Robert Mitchum's early successes to a cornucopia of Twentieth Century-Fox delights. You will find many a classic within the latter, including the Samuel Fuller masterpiece that should have earned one of the industry's hardest-working character actresses an overdue Academy Award. Throughout her career, Thelma Ritter was Oscar-nominated six times, always in the Best Supporting Actress category (an all time record), but always lost. 1953's perfect Pickup On South Street should have been her time to win…

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Smackdown '37: Bossy Women and Fragile Wrecks

Welcome back to the Supporting Actress Smackdown. Each month we pick an Oscar vintage to explore through the lens of actressing at the edges. This episode takes us back to 1937, which was only the second year of the category. 

THE NOMINEES  It was only the second year of the Supporting Actress category yet the tropes and shortlist makeup were already falling into place. Oscar voters went with a mix of industry veterans (Alice Brady the first consecutive nominee in this category), stage stars transferring to film (Dame May Whitty), fresh faces (Anne Shirley), and rising talent (Andrea Leeds, Claire Trevor) to play an array of familiar types: the martyr mom, the tetchy elder, the sad / confused daughter, the insecure actress, and the complicated hooker...

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Almost There: Linda Fiorentino in "The Last Seduction"

by Cláudio Alves

Since last month, the Criterion Channel is offering a collection of neo-noirs, modern films from the 70s onwards that perpetuate the tradition of 1940s and 50s crime pictures. Freer to explore matters of sex and violence, these versions of film noir tend to be more visceral, updating old archetypes into vicious evocations of misanthropic cinema. For actressexuals, the evolution of the femme fatale is especially enticing. From Kathleen Turner's oversexed take on a Phyllis Dietrichson type in Body Heat to Nora Zehetner's mysterious high-schooler in Brick, this immortal character has gone through an infinite myriad of transfigurations. Maybe none of them caused as much hubbub during her awards season as Linda Fiorentino in John Dahl's The Last Seduction…

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1946: Martha Vickers in "The Big Sleep"

Each month before the Smackdown event, suggested options for an alternate ballot in Best Supporting Actress... 

by Nick Taylor

How is it I've ended up watching three Bogie & Bacall collaborations in reverse chronological order while celebrating the Smackdown years? At least this means that their pairings have only grown more rewarding, rather than less. I’d probably rank To Have and Have Not ever so slightly above The Big Sleep, but boy is it a twisty, entertaining film, making real cinema out of Raymond Chandler’s novel without sanding away his cynical wit and venom (This write-up is based on the 1946 version of the film, rather than the substantially reorganized and shorter 1945 cut). The Big Sleep also boasts the only real instance in any of these films of a supporting performer truly overshadowing the star couple for sheer charisma and watchability. That actress is Martha Vickers, in the role of Lauren Bacall’s drug-addicted, nymphomaniac sister Carmen Sternwood. If it’s one thing for Moorehead to walk away with a barely-there film like Dark Passage, it’s an entirely different feat to watch Vickers’ intense, dangerous, but visibly curtailed supporting turn swipe the whole movie out from under Bogie and Bacall at very nearly the top of their game. 

Before getting into Vickers’ performance, it’s worth sharing a bit of Hollywood history that explains why Vickers is in less of the film than one might be expecting...

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