Kiki, the Runway Bride

Here comes the bride, all dressed depressed in white ♬

Should the Apocalypse ever need to take wife, it couldn't do better than to kneel before one Kirsten Dunst and beg for her hand in unholy matrimony. Isn't she aesthetically effective and spectacularly depressing in a wedding gown?! Two of her signature characters, Justine in Melancholia and Marie Antoinette in Marie Antoinette march toward certain doom in their white and ivory splendor. 

I was thinking about Dunst for four reasons today. 

1. It's Marie Antoinette's 256th birthday today. Eat cake.
2. I was just reading that she'll reteam with Orlando Bloom, her Elizabethtown co-star for, sort of in the Roger Donaldson's new interlocking stories thriller Cities. I believe she'll be involved with Clive Owen's character in the film, a NYC hedge fund manager. But the Elizabethtown connection is worrisome only in that that film seemed to lead to the sudden downward spiral of her career, Bloom's career, and director Cameron Crowe's career who disappeared thereafter. (But he'll be back soon with We Bought a Zoo.)
3. That coincidentally nervous-making news aside, she's been making all the right moves career-wise lately and I couldn't be more pleased. She's such a fine actress.
4. Melancholia opens on the 11th, expands on the 18th and I have something special planned for it that I think you'll enjoy. Something more interactive than you're accustomed to in movie reviews. My review will arrive late next week... and I hope you'll see the movie first chance you get. It's very very sticky.

So... Kirsten Dunst: Does she make you hear wedding bells? 

Q&A: Teen Carnage, Kiki's Oscar, and Golden Age Moderns

In the Q&A column Nathaniel answers 9 or 10 questions posed by readers each week. This week young actors seemed to be on your brain for which we must surely blame that Extremely Loud and Incredibly Close trailer. Here we go again. 

Spencer: With your great passion for film and your auteur love have you ever thought about MAKING films?
Yes but not in any specific way which is why I never pursued it. I have some skill with editing which I studied briefly in college (or so my friend who is an actual film editor tells me) and I write but in truth, I probably wouldn't be happy unless I was directing (i.e. in control). I was honest with myself early on that I just couldn't see myself having the right temperament for it. Still, like anyone, I've had fleeting fantasy moments about making movies. It usually involves me being lauded as the director who finally brought the musical back for good. Mostly because I keep waiting for that savior to arrive and, as it turns out, Rob Marshall wasn't the answer.

I just recently watched the Martin Scorsese documentary on Fran Lebowitz called Public Speaking (which I recommend) and she put into words something I've always felt.

An audience with a high level of connoisseurship is as important to the culture as artists."

She explains why in more articulate detail in the film but I'm happy to do my small part in continuing the connoisseur tradition.

Basti: "Extremely Loud..." and "Hugo" ahead... What is your favourite performance by a male child actor?
I tend to not like child actors, at least American ones, because they're too precociously aware of the camera. That said I have nostalgic fondness for Mark Lester in Oliver! (1968) because I was obsessed with the movie when I was the age of its singing orphans. Jamie Bell was pretty special in Billy Elliott (2000) and I'm happy his career panned out. I liked Nicholas Gledhill in Careful He Might Hear You (1984) but the movie is a foggy memory. Oh, Haley Joel Osment! You can't even say "it was the direction" with him as you can with many great child performances, since he was deserving of Oscar nominations twice before he was even 13!  (The Sixth Sense and A.I. Artificial Intelligence). 

Philip: What does Kirsten Dunst need to do to see an Oscar nomination?
She's doing it right now. I don't mean that Melancholia will snag her her first Oscar nomination -- she has to share film carrying duties there and her cargo is too eerie and depressive for mass appeal -- but that she's making very smart moves at this point in her career as she rebuilds after that weird post Spider-Man 3 spell...

Her current decisions and ace work (All Good Things followed immediately by Melancholia? That's quite a twofer performance-wise.) are bound to pay off in terms of respect and career momentum as she reaches the magic years for female movie stars. Which, if you're wondering, is from about 31 to 35 years of age by my calculations. So many of the truly iconic performances have happened in that age range. Think of the best and most famous performances ever and then look up the age the actress was at the time. It's uncanny. Or maybe it's just when actresses have the best opportunities work-wise. Of course Oscar likes women best at age 29 (as previously discussed) but that's a different topic.

MrW: Chaplin or Keaton?
Keaton and with bells on. Uh, even though there's no sound.

Liz: What would you do to fix the foreign language category at the Oscars, particularly the strange eligibility and release rules? On one hand, it's frustrating that it's virtually impossible for moviegoers to see the movies before the ceremony. But on the other, it's a nice way to get these movies more exposure if they're able to put "Oscar nominated" on their posters. Quandry?
I am much more forgiving of Oscar's foreign film rules than most pundits. I totally understand why they have the one film rule and the percentage rules of language and the "is it Albanian enough?" rulings and all of that. That said, I do think there's one easy fix that wouldn't completely demolish Oscar's diversity-structure but would still better represent what's happening in world cinema  and maybe even prompt more ambitious release strategies. My feeling is the rules should stay exactly as is EXCEPT that if a film receives a regular release during the calendar year it also becomes eligible in this category, at least for write-in votes. Sure this would give France and India, for example, a multiple films edge each year (since several of their films see stateside releases) and other countries an edge in the years in which they have world cinema heat but why shouldn't the Best Foreign Film Category also reflect dominant film cultures? Why shouldn't, for example, Pedro Almodóvar be eligible with every release even if Spain doesn't submit him? It seems like the rules as is don't reflect success stories but only attempt to cause them (unlike every other category). 

Dylan: Cast 4 child/teen actors in a middle school production of "God of Carnage".
What's with all the "young actor" questions this week? This one made me LOL so I had to respond. It's so Bugsy Malone. Tweens and young teens in these purposefully middle age roles is just so wrong. It's as wrong as that classic Onion piece about the grade school production of Equus or Anna Kendrick's age inappropriate rendition of "Here's to the Ladies Who Lunch" in Camp (2003). I'm sure someone with more familiarity with young actors would have more fun doing this. ANYONE WANNA TAKE THIS QUESTION ON? Honestly, I tend to not pay much attention until actors are adults -- I like fully formed or visibly forming star personas way more than embryonic blank slates. The only time I think about the teen actors (who are usually on television which I don't watch as much of) is when they're just so good that I can't ignore them (like Evan Rachel Wood in thirteen. Holy hell but that was a great performance. I want a recount of those Oscar votes that led to the "youngest Best Actress nominee ever"... it was just the wrong one).

One thing I would like to see is Dakota Fanning and Elle Fanning at war onscreen so maybe I should cast them both here in the Jodie/MarciaGay  & Kate/Hope roles? Who cares about the guys!

Jorge: From the 'Inception' top supporting players (Joseph Gordon-Levitt, Tom Hardy), who do you think will be the next to get an Oscar nomination?

Or you think it will be Page, Cotillard or Caine to get a second one sooner than those two?"
I think Cotillard mostly due to the amount and the type of roles she's offered in prestige projects. JGL's problem is that he's still a bit too young for Oscar (they are so weirdly ageist in opposite ways with men and women) and I think Tom Hardy's problem may be the physicality of his roles. Oscar seems to reacts to attention-grabbing male physiques best if they're in distress (i.e. weight gains, weight losses, disabilities, etcetera) and Hardy's physicality has become such a focus of his work that I think that might be hard to get around for people in terms of people recognizing him for his acting talent alone.

Dean: Which of the following films would you most want to see made, and who stars and directs: Extreme Tinker Martha? Loud Tailor Marcy? Incredible Soldier May? Close Spy Marlene?
I have to give you mad points for originality, combining three of this year's wordiest movie titles to make four theoretical but awesome sounding movies. I want to see all four actually but I'm most partial to Loud Tailor Marcy because I picture a, like, sassy comedy about a fashion designer's assistant starring some eccentric beauty with an oversize personality who cannot shut up. I want Ari Graynor for the lead role because she needs a plum vehicle and I want David O. Russell to direct it since I worship his smart and chaotic comedic sensibility. My second choice is Extreme Tinker Martha for which I have to have Ellen Page on the condition that she never has to spout any exposition because that just killed her in Inception. I want to love her again. (To be directed by...?)

QUESTION OF THE WEEK

Craig: Which actress (or actresses) from Hollywood's Golden Age could have a career today? Conversely, which of today's acclaimed actresses would have had stardom 70 years ago?
I think the obvious choice is Barbara Stanwyck. She had a certain ease with genre-hopping (how many people are equally good at playing dangerous women in noirs and goofy screwball comedy goddesses?) which I think today's stars have to do more of. Plus, she reads modern. (I'd love to think that Bette Davis would be equally huge in today's Hollywood but the sad truth is there probably wouldn't be so many projects built around her thorny persona and non-traditional beauty.) Drew Barrymore would have been a star in any era, but I think since her persona leans so cheerful and flirtatious without being overtly erotic, I think she would have excelled in the studio system which, at least for mainstream comedies, had way better scripts. Romantic Comedies were once one of the smartest of movie genres. I know I know; impossible to imagine even though it's true.

Stanwyck Vs. Barrymore

I've said before that Charlize Theron would have done much better in the past, where her innate glamour would not have had to be separated from her actual acting skill -- back then they could use both at once which is so much less true today in the obsessive need for naturalism in movies. Using that same formula: Uma Thurman. Two younger options (who have worked together) both of which I absolutely believe qualify for this question: Anne Hathaway and Emily Blunt.

I'd love to hear readers take on this one. It's equally interesting to think of the reverse. I don't think, for example, that my two redhead godesses Julianne & Nicole would have fared as well in old Hollywood, despite their very impressive gifts. 

So... YOUR TURN in the comments!

NYFF: "Melancholia" This Is The Way The World Ends

[Editor's Note: Our NYFF coverage begins! You'll be hearing from Michael and Kurt and me. -Nathaniel]

Hey, everybody. Serious Film’s Michael C. here reporting from the New York Film Festival. I’m jumping right into the deep end of the pool with the first title so let’s get to it.

When the world ends in Lars von Trier’s Melancholia it is definitely going to be with a bang and not a whimper. The film opens with a stunning series of images centered around a rogue planet spinning out from behind the sun on a course to smash into Earth like a wrecking ball. It’s a dark nihilistic death dance, the B-side to Tree of Life’s sun-dappled song of life. The sequence alone is worth the price of admission.

From there the film splits neatly into halves. The first concerns the wedding of clinically depressed bride Kirsten Dunst to “aw shucks” wholesome groom Alexander Skarsgård. The second concerns Dunst and sister Charlotte Gainsbourg grappling with the whole possible destruction of the planet thing. Both halves follow similar arcs with characters hoping against hope that the worst case scenario can be avoided before remembering that this is, after all, a von Trier movie.

I’m not sure splitting up the stories was the wisest choice, since the second half never recovers the energy of the wedding scenes. I could write that the second half creaks under the weight of its symbolism, but if Von Trier is willing to fill the sky with an ominous death planet named after his own depression, who am I to point out that the whole thing is a bit "on the nose"?

Melancholia would have to qualify as a minor disappointment considering the shattering impact Von Trier is capable of, but still, it's an experience worth having. The whole cast is aces. Dunst rises to the occasion with a bone deep convincing portrayal of smothering depression, while Kiefer Sutherland, to my surprise, punches through in a big way as Gainsbourg’s wealthy put-upon husband. Best of all, is the wall to wall breathtaking cinematography by Manuel Alberto Claro, which, by the way, is probably the film's best shot at awards attention. The whole thing has a cumulative effect greater than the sum of its flaws.

First and Last, Oh Cecilia

first and last - a motion picture guessing game

first line

Cecilia was the first to go.

last image

Can you guess the movie?

give up or check your answer (and see the actual first frame) after the jump...

Click to read more ...

Oscar June Predix Update. What We Know Now...

... can fit into a thimble or a wee baby's hand. Sometimes by May's end one or two fairly-sure things have become clear, but the closest we have to that, still, is Rango in the animated film department. Old news.

What did the Month of May teach us suggest to us?

1. The Weinsteins, who finally won their first post-Miramax "Best Picture"  with The King's Speech, will not likely be satiated by that triumph. It'll just make them hungry for another. They have been beefing up their competitive slate. They either have faith in both Phyllida Lloyd's Thatcher bio The Iron Lady (which sounds typically "prestige" enough for Oscar play, even if it turns out dull) and the crowdpleaser The Artist (which sounds accessible enough for Oscar play, despite being a silent film) or they didn't want anyone else to have one or both of them. You never know with them. And you won't know till the last minute; the Weinsteins are notoriously patient about waiting it out, either because they like to see what the awards air is like, or just because they believe more strongly in the "ONLY DECEMBER!" Oscar strategy than any other distributor. We'll find out more about their plan towards the end of the year. 

2. Cannes elevated the intriguing possibility of Kirsten Dunst Best Actress traction for Melancholia -- something we've long hoped for for one of our favorite actresses -- but what's yet more delicious than her Cannes win is the myriad ways this could play out with a complicated mix of voting factors (actual high quality performance, off-performance sympathy votes, career comeback of sorts, Lars von Trier's unpredictable track record in US distribution); Those moviegoers who love to follow the politics of Oscar, not just the movies, are bound to enjoy this particular story as it unfolds. 

3. The warm reception for Midnight in Paris raised the distinct possibility that Woody Allen could see his 15th Best Original Screenplay nomination. Pundits, including myself, have regularly sold the idea that Mr Allen is always a threat in the Original Screenplay category but in truth, that "always" is quite an overestimation given that he hasn't been a  "regular" since the 90s. (He only received one nomination in the Aughts making him less an always then a 10% kinda guy these days). He didn't even get much Oscar traction for Vicky Cristina Barcelona despite a Golden Globe  Picture win and an eventual Oscar for Penélope Cruz. But Midnight, might be a different story. Firstly, there's no individual performance that awards bodies can latch on to -- the showiest work is done by the people with the teeniest parts -- and if anyone reaps the benefits of the love for the film, it'll be Allen himself. Midnight is quite light on its feet despite a theme with melancholy resonance, and it's performing well at the box office. As The Film Experience has always maintained, Oscar voters tastes are basically a figurative amalgam of critics + moviegoers + media; if those three groups like something (even if they do so for entirely different reasons), Oscar will join them.

4. I'm not sure what we know about The Tree of Life. I feel lost here. At first one heard "mixed reviews" than it won the "Palme D'Or" and then it opened. It's been a whirlwind of activity. If the random stories of older audiences walking out are true -- can one ever trust "stories" about certain demographics loving or hating any film? Said stories always seem rife with possible agendas and/or horse's mouth biases -- than it might be dead in the water for Oscar. BUT. It just opened. Let's see how it plays as it expands. If Malick teaches us anything he teaches us patience, right? See you at his next film in 2019! (I'm kidding. Supposedly the next film has already completed shooting... but I'll believe back-to-back Malick releases when they happen and no sooner.)

5. My guess is that Pirates of the Caribbean bombed too badly with critics to win it much heat in the technical categories where it's previously done fairly well for itself. Thor wasn't a big enough deal financially and in the passion-meter of its fans to score any technicals (though it's worth noting that its production designer Bo Welch is an Academy favorite), so the next two superhero tests are X-Men First Class and Green Lantern. For some possibly silly reason, I've convinced myself that it's Captain America that might get the tech nods that you know at least one of the comic book films will win.

Eventually comic book films will invade Oscar. Though it seems improbable now it's a matter of percentages. As more and more of them get made, Oscar will have less and less ways to avoid them.

Here's something we don't know...

What the hell is going on with The Eye of the Storm? It's one of those titles, an adaptation of a novel, that I only discovered in researching potential Oscar players (and talking in the comments to you!) but I never hear a peep about it in terms of "official" anything. Nevertheless it looks promising and actressy, and maybe Geoffrey Rush's post-Speech heat and general hammy deliciousness (to AMPAS palettes at least) can help it out? I've tried everything I could think of to embed the teaser (everything I could think of = copy and paste) but nothing works so you'll have to go to Twitch to see it.

Fly away, pigeon. Just say your farewell and go.

Dying Charlotte Rampling theatrically dismissing bitchy Judy Davis is my new two second obsession. Enjoy it with me!

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