Q&A: Actressexual Longings & Carol Gender-Flipped

It's another Q & A. Ask it and it shall be er... might be answered. When I started typing this week I couldn't stop and before I know it there were thousands and thousands of words. So that takes care of two Q&As .

Here's the first half of the mad scribblings typings then.

What is your favorite non-nominated performance from each of the five titans of the acting nominations? (Meryl Streep, Katharine Hepburn, Jack Nicholson, Bette Davis and Laurence Olivier) - SEAN

NATHANIEL: Oh this is a tough one since those people were Oscared for breathing. Okay. Let's take them in reverse order of preference as actors...

Sir Laurence Olivier. Weirdly I was just watching As You Like It (1936) just the other day. I wasn't all that impressed though he definitely had an easier time with the material and the medium than the other stagebound performers. I have seen several of his non-nominated films, mostly from when I was very young so I don't remember them well. Spartacus? Dracula? That Hamilton Woman? I have no idea. I'm not a Sir Larry person at all! I almost always prefer his co-stars even in his biggest hits.

Katharine Hepburn. Bringing Up Baby (1938) is such a comic jewel. Mid 30s to Early 40s is best with Hepburn. 

Jack Nicholson. The Shining (1980). Sure he goes big but the nightmare requires that level of commitment to devilish abandon. He does supersized devilish abandon in Witches of Eastwick (1987) as well but in the latter case it's distracting since the women are already sparking so much. Take it down, Jack.

Bette Davis. I confess: I haven't seen all that many of her non-nominated performances. I don't think she's very good in Hush Hush Sweet Charlotte or her late camp work and not very memorable in Three on a Match. Hmmm. Maybe The Great Lie (1941)? But Mary Astor performs Grand Theft Movie in that one. What a knockout star turn.

Meryl Streep. Easy. The Hours (2002). "I seem to be... unravelling."

lots more after the jump

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Beauty Break: What a Firecracker!

 Happy Fourth of July !!!  Party safely. Here's Ann Miller, and 20 other beautiful firecrackers to celebrate with you (who would you like to set off sparks with?) after the jump...

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"A bright guilty world." - On The Lady From Shanghai

Hit Me With Your Best Shot S6.10
Mid Season Finale (See all the pics tonight at 11!)
The Lady From Shanghai (1948)
Directed by Orson Welles. Cinematography by Charles Lawton Jr.

Though we're usually tasked to watch the same film for Hit Me With Your Best Shot, today for the Orson Welles Centennial, participants had their choice of three films. I chose The Lady From Shanghai (1948) largely because the only image I ever see for it online is Orson Welles seizing Rita Hayworth, both of them reflected by mirrors in the über famous "Crazy House" finale. It's one of those movie sequences you learn by osmosis just watching other movies (remember Woody Allen's take on it in Manhattan Murder Mystery?) even before you get around to this 1948 noir (Technicall IMDb says 1947 but it was released practically everywhere in 1948). Though the hall of mirrors contains roughly 50 shots that could justifiably be called "Best" it's their proximity and their dizzying accumulation of lies (all about to shatter) that really does it for me so I looked elsewhere.

The Lady From Shanghai is gorgeously uncluttered. It's as if only the basic tropes have room to exist: the femme fatale, the narrating dupe, the shadows, and the crimes. It's so self aware it even toasts its own genre halfway through...

Here's to crime!"

You might even call it minimalist despite the famously baroque visual finale. It was the fourth Orson Welles picture and the first to be ignored entirely by the Academy when it opened in the summer of 1948 but it won the important battle: standing the test of time.

The movie plays its hand immediately, informing you that Elsa Bannister (Rita Hayworth) will be Michael O'Hara's (Orson Welles) undoing. But every time you look at her, which is often since Welles and Lawton Jr give Hayworth star vehicle closeups throughout, you hope it won't be true.  One very smart recurring visual motif is that Mrs Bannister is bathed in light more often than she's in shadow. She so clearly has her own key light that at the tail end of the movie's first sequence, when Welles jumps in a horse drawn carriage with her, their images seem artificially conjoined since he's so shadowy and she's so bright.

But this lighting motif is a lie, one you catch if you a) believe the narration and b) listen to the dialogue of the film's oiliest and most repulsive character who refers to the paradise around these rich sharks as a  "bright guilty world." One notable exception, the one I'd select as Best Shot if I could have two conjoined images to illustrate a point, is when Elsa and O'Hara meet in an quarium. This time they're both bathed in shadows though something is very different about the shots: when O'Hara stands next to the glass they're like harmless magnified fishies; when Elsa picks a spot to stand the marine life is far more disturbing, gasping for air. 

But for Best Shot I'm going minimal, and brightly lit, conveying the intoxication of Rita Hayworth. The shot below is breathtaking in its sensuality; Elsa gets the full glamour treatment, the glistening eyes and slightly parted mouth, the soft but ample lighting. But Welles doesn't rest on his co-star and lover's beauty alone. There's an impressive array of choreographed movement that keeps whiplashing the camera back to her, reclined, through lots of business with her three men and one cigarette. You're constantly aware of the relationships between the four principles. This is is not a typical triangulated affair or evil quartet but a circle with Elsa Bannister always at its center.

best shot

And since we're speaking of juxtapositions, if you pair this hypnotic sequence -- your eyes are getting heavier... You will do whatever Rita breathily implores! -- with an even more brightly lit but far less serene shot of her face in the climax, this star turn reveals itself as quite a bifurcated triumph; it's half fawning iconography (until the mask of her glamour finally drops) and half shifty performance. 

By all means if you haven't seen this movie -- or any of Orson Welles's masterpieces, do. 

Stripper of the Day: Gilda

[Editor's Note: While Magic Mike is in theaters we're revisiting memorable stripteases. Here's Jose to talk Gilda.]

When I was thirteen, I found Madonna's SEX on eBay and bought it. Upon its arrival I showed my new prized possession to everyone including my father who for a while seemed enthralled by the Queen. Upon finishing leafing through the book he came over to me and quoted something he'd said to me many times before and it was this:  "I'd rather have a fully clothed Rita Hayworth than a naked Madonna".

I dismissed him. But then a few years later I watched Gilda.

This sexy noir from 1946 has Glenn Ford playing a gambler who perpetuates the classic Hollywood curse that the more you want to run away from someone, the more you'll run into them. His life becomes a living hell when he runs into his ex-lover, the title femme fatale played by Hayworth. The movie mostly concentrates on having them despise and then love each other and along with evil Germans, fake deaths and shocking twists, makes this a truly unmissable event.

However the film is mostly remembered for being Hayworth's pièce de résistance and especially for her outstanding song numbers including her performance of "Put the Blame on Mame"

more...

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President Linkin'

Oh look! via the Film Stage via Splash via Twitter or some such, it's Daniel Day-Lewis on the set of Steven Spielberg's Lincoln (written by the often genius Tony Kushner)

©Michael Phillips / Splash

According to Jeff Sneider he hasn't dropped the accent off camera since filming began. We are glad that Daniel Day-Lewis decided to be an actor again but we also hope they let him cobble his own shoes for these roles so he can indulge in all of his creative pursuits simultaneously.

The Awl Choire Sicha wonders why dudes can't have sex in movies anymore
The Onion "everyone giving up on John after latest movie recommendation."
Thompson on Hollywood Viola Davis to be honored at the Santa Barbara Fest... which is, as you know, a hotspot for Oscar campaigns. 
Madonnarama So it's true. Madonna will be singing on the soundtrack of W.E. (which I was suppose to see yesterday but oops. my schedule lately. blargh) on a song called Masterpiece. Before you get all hot and bothered about "Oscar nomination!" remember that no matter how genius the song -- and she's written some classics for the movies -- the Oscar music branch hateth her. (No, I can't fathom why.)

Ooooh, an animated tribute to Drive (I'm having ADD today. Can you tell?) It's vaguely spoilery except the chronology is kinda off.

tribute to drive from tom haugomat & bruno mangyoku on Vimeo.

[hat tip to First Showing]

Super Punch offers up the best comic book covers of the year and a running gag of Thor Goes Hollywood movie referencing wins "best marketing stunt". It is pretty fun. Don't you love this Loki as Mark Zuckerberg bit to your left? You know what's.
The Hairpin remembers Rita Hayworth, scandals and all. 
Animated Short Predictions 10 finalists have been announced so I reconfigured that particular Oscar chart. Boy was I way off base on that category. 
KTLA Speaking of short films, here's a video bit on African Chelsea, one of the buzziest contenders for Live Action Short. It's only 7 minutes long.  

Did I tell you that I was suppose to interview Jessica Chastain today but she had flight troubles or something? It didn't happen. Me sad.

Rope of Silicon Hi res photos from Ridley Scott's Prometheus
In Contention Guy Lodge makes a please for Kenneth Lonergan's Margaret. That's going around. There are even petitions. I stupidly didn't carve out time for it during its blink and you miss it NYC week and now there's no screener. Argh! 

Finally, I look forward to John Waters ArtForum "TOP TEN FILMS" list every year because John Waters has such an inimitable point of view. He writes and thinks fun eccentric things about movies and he used to make fun eccentric movies. True to form his list is eclectic and interesting and it's nice to see Pedro Almodóvar get props for a movie that's been weirdly underdiscussed. I giggled at Waters take on The Tree of Life.

You’d think I’d hate this film, and I almost did—until I realized it’s the best New Age, heterosexual, Christian movie of the year.

But then I had to gag, and not in the good way, when he honored Kaboom as "well written". Ugh. I hate that movie. I want Gregg Araki to grow up again. Mysterious Skin and then REGRESSION. No fair!