Oscar History
Film Bitch History
Welcome

The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)

Follow TFE on Substackd

Powered by Squarespace
COMMENTS

 

Keep TFE Strong

We're looking for 500... no 390 SubscribersIf you read us daily, please be one.  

I ♥ The Film Experience

THANKS IN ADVANCE

What'cha Looking For?
Subscribe

Entries in monologue (37)

Monday
Oct222012

Monologue: "Lousy Lay"

I was married for four years and pretended to be happy and had six years of analysis and pretended to be sane. My husband ran off with his boyfriend and I had an affair with my analyst who told me I was the worst lay he'd ever had. I can't tell you how many men have told me what a lousy lay I am. 

Click to read more ...

Monday
Jun252012

Monologue Monday: "Time To Die"

Today marked the 30th anniversary of Blade Runner, one of the most influential movies of all time. The last time I saw the picture was  5 years ago for its restored 25th anniversary . T'was quite a mindfuck to see a movie so clearly 80s looking like it just came from the lab. For the anniversary I thought I'd share this previous article on Roy Batty's famous final monologue...

Blade Runner's perfect opening shot. Human but abstract

I've lost track of the times I've seen people steal from it, particularly in the art direction/ production design world (the world that spawned auteur Ridley Scott, don'cha know?). Roy Batty (Rutger Hauer), the leader of a freethinking band of androids known as "replicants" is the best character in the movie. He's scary yet soulful and sympathetic... like a 21st century Frankenstein monster. [More after the jump]

Click to read more ...

Monday
May212012

Monologue: Annette Bening. Still on the Grift.

1990 was the year in which I saw the least amount of movies in theaters. I was overseas and when I returned I devoured everything. I don't recommend missing an entire year of cinema but I also can't deny that it's fun to catch up in massive marathons. My favorite shiny new  plaything that year turned out to be Annette Bening. She had appeared in two movies before her breakthrough (The Great Outdoors and Valmont, the latter of which was barely released) but I wasn't familiar with her. In 1990 she ascended. She swiped a scene wholesale from Meryl Streep in Postcards from the Edge (in a way we didn't see again for another 18 years when Viola Davis rationalized away her son in Doubt) and sparkled and teased as Myra Langtry in The Grifters. She deservedly won her first Oscar nomination but the bid was doomed. "You in danger, girl" Ghost was a juggernaut and Whoopi Goldberg was impossible to deny..

Myra, delighted and curious, realizes her boyfriend is "on the grift"

Director Stephen Frears, then at his creative peak hot off Dangerous Liaisons, handed Bening The Grifter's pivotal centerpiece. It's not one scene exactly nor an unbroken monologue but a shifting series of impressions and exchanges in which Myra reveals her past (in voiceover flashback) and begins to rope in her future, altering the game board on which mother and son con artists Roy and Lily Dillon play (John Cusack and Anjelica Huston, the latter giving a mammoth Oscar-worthy performance.)

After Myra witnesses her boyfriend Roy "working the tat on those sailor boys"  she drops enough strange lingo to choke a lesser actress in an effort to rustle his cautious feathers and reveal himself.

Oh come on, Roy. 'The tat,' what you do for a living.❞

More including new Bening films...

Click to read more ...

Monday
May142012

Monday Monologue: Miss Jean Brodie

With The Best Exotic Marigold Hotel (just reviewed) garnering big audiences in limited release, Dames Judi and Maggie have been on the mind. Last week, I remembered my favorite scene from Judi Dench's best performance in Notes on a Scandal (2006), so this week a look back at Maggie Smith's Oscar winning signature role The Prime of Miss Jean Brodie (1969) for a companion piece...

What follows from the 1969 film The Prime of Miss Jean Brodie is not technically a monologue. This progressive middle school teacher in a conservative girls school invites interjections into her speeches, if not actual participation or dialogue. I was tempted to publish this a day early and call it for a Sunday Soliloquy but it's not really that either. For Miss Brodie isn't speaking directly to herself.

Or is she?

 

Click to read more ...

Monday
May072012

Monday Monologue: Barbara's Revenge

Dame Judi Dench has been on my mind lately what with the eye condition, a new James Bond film coming and Marigold Hotel in theaters. So herewith an article from 2008. If you only started reading The Film Experience in the past few years, it's new to you! May is also Mental Health Awareness Month so let's appreciate some crazy bitches...

They always let you down in the end."

My contrarian opinion of Dame Judi Dench is that sometimes she phones it in. How many ways can one play the quippy unfazeable grande dame? But in Notes on a Scandal (2006), she's unimproveable. Faced with the atypical character of "Barbara Covett", Dench rises and soars. The film's politics are horrendous: boo hiss --an evil predatory spinster lesbian attempts to destroy a heteronormative marriage! But the actress is magnificent, giving the film a metronome precise drip drip of theatrical malice.

My favorite sequence in the film runs from Barbara's inconsolable grief for her lost feline, through the resulting perceived betrayal by Sheba Hart (Cate Blanchett), who doesn't have time to console her, to the exquisite sequence when she is confronted with another teacher with amorous feelings for Sheba. She boils with vengeance in mind.

You'd like me to ask Mrs Hart if she's inclined to commit adultery with you? I don't want you to suffer more than is necessary. No one should. I couldn't possibly speak for Mrs. Hart but instinct tells me you might not be her type. 

"She's got a type, then?" is her co-worker Brian's sad response. The film has a few exquisite and small supporting turns and Phil Davis (also terrific as the husband to Vera Drake) is aces in this scene, all befuddled crush turned to shell shock.

Kettle's boiled. Dench likes her tea with bile.

Oh it's no reflection on your attractiveness. My impression is that her preference is for the younger man...surprisingly young; Boys, I'm told. Naturally she doesn't discuss any of this with me but I've been hearing some rather alarming rumors about one in particular.

Playground gossip, staffroom whispers and so on. You might know the boy in question. Ummm... Stephen Connelly."

Brian indicates that her tea is ready.

I think the kettle's boiled.

[V.O.] You say the words and it's done. Easy. Judas had the grace to hang himself. But only according to Matthew, the most sentimental of the apostles. Is this the last night of her old life? I wonder how long my messenger will take?

People like Sheba think they know what it is to be lonely but of the drip drip of long haul no end in sight solitude, they know nothing. What it's like to construct an entire weekend around a visit to the laundrette or to be so chronically untouched that the accidental brush of a bus conductor's hand sends a jolt of longing straight to your groin. Of this, Sheba and her like have no clue.

Dench's every line reading is carved out of the tough bark of decades of loneliness and cynicism; if you could cut through Barbara's hardened shell, you'd see disappointment and repression expanding like rings in an ancient tree. As the words escape her, she sharpens them to a lethal point with fermented emotions and curdled wit, wielding them like weapons. Earlier in the film, Barbara refers to herself as a battle axe. For a woman drowning in self-delusion, it's a surprising lucid self-assessment.