Cannes Diary Day 2: Or, How I'm Still Grappling With 'Grace of Monaco'

Diana Drumm is reporting for The Film Experience from Cannes

As you should know by now, thanks to mid-screening tweets, prompt reviews and Nathaniel being awesome as always, Grace of Monaco is bad. So bad that Cannes critics are being divided into indifference, dislike and rollicking hate. I, for one, fall into a fourth category, that of the now-jaded hopeful still grappling with how it all could have gone so horribly wrong. It’s from the director behind La Vie En Rose and... NICOLE KIDMAN. And I do mean grappling, I’ve barely eaten since that lovely sandwich or slept since nodding off on the Nice-Cannes commuter and my attempts at writing an actual review have gone the way of nonsensical jibberish with many ‘rather’s, ‘while’s and ‘thereby’s. Plus I’ve missed multiple opportunities to stow-away on champagne and celebrity-laden yachts. (Well, maybe not, but you get the gist – me, bedraggled by disappointment.) It could be the jet lag typing, but I wish I could go back to the before time, before I knew for certain that Grace of Monaco was a bad film. 

For weeks, I’ve been hushing naysayers, lah-lah-lahing the latest Weinstein cut rumors and ignoring the strawberry blonde Nicole Kidman as Grace press photos. With its synopsis reading like My Week with Marilyn meeting Evita for cucumber sandwiches to discuss an upcoming charity event and swap stories about who was handsier, Ari Onassis or Alfred Hitchcock, I kept telling myself that whether Grace was good or bad, it would be nice to see Grace Kelly’s story onscreen. I was wrong, so wrong. This isn’t to say that the film’s downright awful, or even amongst Cannes’ worst (Splitting Heirs, anyone?), but as someone with only love in her heart would say, it’s not that I’m angry, it’s that I’m hurt and disappointed. 

Princess Grace and Old Hollywood fairy tales after the jump...

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A Year with Kate: Dragon Seed (1944)

Episode 20 of 52 of Anne Marie's chronological look at Katharine Hepburn's career.

In which Katharine Hepburn dons yellow face for the war effort.

Did you celebrate Kate’s birthday on Monday? Early in my Hepburn idolatry, I used to bemoan the fact that I missed sharing her birthday by just two days. This year, however, I was excited. “My birthday is on a Wednesday this year,” I thought gleefully to myself. “I can celebrate both our birthdays with A Year With Kate!” Turns out the joke was on us. Happy Birthday, Kate and Anne Marie. Let’s talk about racism.

When you are a fan of the Studio System Era, you learn to live with certain uncomfortable truths about Hollywood’s so-called Golden Age. Films were overtly racist, sexist, and homophobic in ways that thankfully would never be tolerated now. As a modern viewer, how do you make peace with it? The answer, at least for me, has been to acknowledge (though not forgive) the various forms of bigotry that run rampant through these films. However, my attempt at benevolent righteousness stalls when confronted with Katharine Hepburn in all her yellowface shame and glory in Dragon Seed. This is a movie that is not only overtly racist with its cast of white actors in “Oriental” makeup, but--more dangerously--subtly racist in its attitudes towards both the evil Japanese soldiers and the good Chinese farmers. Dragon Seed is proof that good intentions do not make up for terrible bigotry. 

[More after the jump if you dare...]

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A Year with Kate: Stage Door Canteen (1943)

Episode 19 of 52 of Anne Marie's chronological look at Katharine Hepburn's career.

In which Katharine Hepburn, Tallulah Bankhead, and a stripper walk into a bar…

Ain't you heard? There's a war on! Two years into the Second World War, Americans were fulfilling their patriotic duty, finding ways to serve and protect. The message at the front: fight back the enemy. The message at home: support our troops! But how does a movie star fulfill her patriotic duty? The answer came in the form of the Stage Door Canteen (and its West Coast cousin the Hollywood Canteen, which would get movie treatment in 1944). Any serviceman in uniform could come to the Stage Door Canteen, eat and dance for free, and maybe catch a glimpse at the stars, who volunteered to bus tables, play host, and entertain the servicemen free of charge. Stage Door Canteen was produced by the American Theatre Guild (distribution by RKO), and boasted 48 huge stars and 6 boisterous big bands to entertain the troops and boost morale at home.

Unfortunately, time marches forward, and of the 48 stars formerly so easily recognizable, most have been forgotten to time and old Looney Toons caricatures. Even I, expert though I am, as knowledgeable as I am humble, only can name about half without first scouring IMDb. However, I know that all of you are just as geeky as I am--if not moreso. So, instead of just listing my top 10 favorite cameos from this film, I've created a brief quiz. How many of these 11 stars can you name? (The first one is a gimme.)

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Tyrone Power Centennial. Can We Get a Biopic, Please?

Behold the beauty of young swashbuckler Tyrone Power. Though I'm not really a fan of Zac Efron, may I propose a Power biopic starring the young hunk? Just look at the photos and marvel at how easily Efron could do it, aesthetically that is. And, anyway, all classic stars deserve biopics, if only to reintroduce them to modern audiences.

Today marks the romantic leading man's 100th birthday so we'll celebrate after the jump with a Beauty Break and a few notes on his career. 

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A Year with Kate: Keeper of the Flame (1942)

Episode 18 of 52 of Anne Marie's chronological look at Katharine Hepburn's career.

In which I'm not entirely sure what's going on but it seems to involve boy scouts and fascism.

So, you’re a major studio with a bona fide hit on your hands. You’ve thrown two Academy Award winners, neither a matinee idol in their own right, into a romantic comedy, and the sparks between them burst with unexpected chemistry. The result is a commercial and critical smash that will garner two Oscar nominations and one win (for Best Screenplay). Clearly, another movie between Spencer Tracy and Katharine Hepburn is desired. The next question is: how do you follow an immediate classic?

If your answer is “with a heavy-handed, jingoistic melodrama about fascism,” then you’re crazy, but you’re also right. The tonal about-face from the lighthearted Woman of the Year to Tracy and Hepburn’s next film, Keeper of the Flame, is severe enough to cause whiplash. [more...]

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