I can't even remember where or how I found this photo -- I think it was during the rush of web activity mourning Elizabeth Taylor's passing. And I think it must be from 61/62? But how insane is this?
Elizabeth Taylor and Natalie Wood and Audrey Hepburn all awkwardly dancing with their men friends within bumping distance of each other? It's so "It Movie Stars of the 60s". CrazyHotNostalgia. That'd be like if you could find a candid shot of Meryl, Kathleen & Michelle dirty dancin' in the 80s or Faye, Jane & Diane boogieing in the 70s or Kate and Cate and Nicole letting loose in the 00s or, ah, ... well, you could play this game for hours. Gah! Wonderment.
Okay, voting was robust enough on the 1970s -- THAT POLL IS STILL OPEN -- that we're adding ten more years to take us back a full half century to 1961. If you're joining us late, here are the results from the 80s, and 1991 thru 2010. As before these polls are not asking you to choose the five best performances from fives years but to name which character creation hogs your mental real estate. (Sometimes those are the same things, sometimes they're not.)
Two polls so scroll down to make sure you get both.You choose up to five from each five year grouping. Here we go...
1966-1970 * please note on the following poll "Maggie Ross" The Subject was Roses should read "Nettie Cleary" The Subject Was Roses. I can't correct it lest I lose all your votes. So keep that in mind should you happen to be a fan of thise subject they call roses.
This might be easier for some of you the further we go back, with less screenings winnowing down your vote. How many of you are unfamiliar with most of these roles? Lately I have begun to realize that anything older than the 1970s in the cinema -- unless it's epically famous -- tends to draw blank stares. I'm less well versed in 60s cinema than 50s or 70s cinema for some reason myself.
If you feel utterly flummoxed by a lack of personal experience here, why not use the results for rental ideas? Some of these movies (and/or performances) deserve bigger modern audiences than they get. I'll tell you who I'd have voted for a little later on.
The Lincoln Center and the Paley Center here in NYC have joined forces to celebrate the all-singing all-dancing legend that is Judy Garland!
Shout 'Hallelujah', c'mon get happy!"
Once upon a time she was dubbed "The World's Greatest Entertainer." Few celebrities have ever earned their PR self-mythologizing titles the way Judy G did. There's just no beating her for musical pleasure and cathartic heartbreak. And as if her sensational singing and dancing weren't enough, she was a fine actress, too!
I missed the first week of the celebration being in Michigan but I'll see what I can catch for the remainder of the summer program which ends August 9th. If you're not in New York City, you can always follow along at home as best you can with an impromptu DVD festival.
Still to come in the festival are...
Young Judy: Everybody Sing (1938), For Me and My Gal (1942), Presenting Lily Mars (1943).... and of course a handful with Mickey Rooney: Babes in Arms (1939), Andy Hardy Meets Debutante (1940), Strike Up the Band (1940), Babes on Broadway (1941), Life Begins For Andy Hardy (1941) and Girl Crazy (1943)
Peak Judy: Meet Me in St. Louis (1944) *one of my personal all time favorite films*, The Clock (1945) which was her first non-musical dramatic role, The Harvey Girls (1946),Easter Parade (1948), In the Good Old Summertime (1949), Summer Stock (1950), and the legendary A Star is Born (1954) in which Judy gives one of the greatest performances of all time. It should have won her the Oscar with ease.
Late Period Judy: Judgment at Nuremberg (1961) *Judy's final Oscar nomination*, A Child is Waiting (1963) with Burt Lancaster, and the must-see (for its thinly veiled Judy autiobiopic'isms) I Could Go On Singing (1963). Meanwhile, over at The Paley Center there's a longer celebration of her television years which runs through August 18th [more info here].
Watch a Judy Garland film this week! Which would you choose?
Did any of you catch that AMPAS has opened up a Production Design Database? It's just got two sample searches right now "Science Fiction" and "Wedding Clothes" and many of the items you still have to make appointments to actually see but what they do have up gives you a taste of their rich history. (It's better to search more generally -- like say by picking a year -- than to search for a specific film). Since I didn't do as much as I intended for the June Wedding theme here at the blog, I thought I'd share a couple of their illustrations for one last walk down an aisle (and to give you a taste of the type of stuff they have.)
The wedding search is more Costume Design than Production Design but those two departments are usually tight. In the picture above you see illustrations of stars Elizabeth Taylor and Olivia De Havilland in gowns they wore in real life (Liz's wedding to Nicky Hilton) or on film (that's Olivia's gown from My Cousin Rachel).
My favorite thing in their "wedding" database was this: a storyboard of one of the most hilarious scenes from Funny Girl (1968)
Fanny: I ask my looking glass what-is-it? That makes me so exquisite? Chorus: The answer to your query, is come back dearie. His love makes me beautiful, so beautiful. You are so beautiful Fanny: I am so byootiful.
That scene makes me LOL every time, how about you? Barbra Streisand totes deserved that Best Actress statue.
In this weekly series "Hit Me With Your Best Shot", we look at a pre-determined movie and select what we think is the best (or at least our favorite) shot.
Let's stare this down right away.
The best shot in Alfred Hitchcock's immortal Psycho (1960) comes from arguably the most famous single scene in cinema's 100+ year history. It's that devastating slow clockwise turn (mirroring blood swirling down the drain) paired with a slow zoom out. Marion Crane is dead or thereabouts. Dying in the shower allows her final posthumous tears.
In what is arguably Hitchcock's most brilliant decision in a film filled with them, this moment turns the movie's fabled voyeurism (and explicit understanding of cinema's very nature) back at the audience. We've been staring at Marion Crane, foolish bird-like Marion, for 49 minutes watching her squirm in her "private trap". We couldn't (didn't want to?) save her. Now it's her turn to stare back.
Wednesday, August 17, 2011 at 12:50PM 
