We had so much fun on "Down with Love"

Costume Designer Daniel Orlandi concludes his guest-blogging day with our favourite of his pictures. You should follow him on Instagram for more fun set photos & costume sketches....

by Daniel Orlandi

The Doris Day / Rock Hudson sex comedy romps were among the first movies I saw as a kid. I was so enamored of the look. So when I read the script to Down with Love (2003), I had to do it. I owe a lot to Producer Paddy Cullen for helping me get the job. She slipped me that script early and got me in to meet the director and producers first.

There was one problem, though...

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1981: Modern Romance

Please welcome new contributor Nick Taylor who is providing us with extra Supporting Actress supplemental pleasure inbetween the Smackdown events...

Modern Romance (1981) begins with its main couple breaking up in a diner. Or rather, Robert Cole (actor/writer/director Albert Brooks) has decided to break up with his girlfriend Mary Harvard (Kathryn Harrold), because something in his life has felt off lately. He thinks it’s their relationship. She’s justifiably annoyed with this, particularly since they spend a lot of time breaking up and getting back together, and barely believes him when he says they’re not coming back from this. The only time Robert seems hesitant about ending it (this time) is when she says something that reignites his paranoia, making him think she won’t mind them splitting and is already having an affair. Mary leaves the building so quickly she doesn’t even have the chance to ask to get her order to go, then tells Robert to drop dead and gets in her car. 

This scene lays out their relationship pretty concisely, though it’s not immediately obvious how Kathryn Harrold’s performance is responsible for its effectiveness. Modern Romance never feels clearer or more insightful than when Mary and Robert are together, in no small part because it has more to say about toxic relationships than it does about shitty men...

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Curio: What's Up Doc?

by Nathaniel R

Illustration by Glen Hanson. His incredible shop is here.

After Claudio's article about Madeline Kahn in What's Up Doc? I was inspired to rewatch it (it had been a gazillion years). The movie was even better than I had vaguely remembered from childhood. And as great as Kahn was I was all about the incredibly sexy chaos/chemistry of Ryan O'Neal's stuffy geologist and Babs' over-educated troublemaker. Then on Streisand's birthday this week one of our favourite illustrators, Glen Hanson, posted some in progress What's Up Doc? (1972) drawings that are just super  and also sang to Babs on his Instagram.

This all led to missing the departed "Curio" column so let's revive it to celebrate movie-inspired art each week. After the jump more art inspired by What's Up Doc...

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Podcast: Quarantined with "Emma" and "Cactus Flower"

with Nathaniel R and Murtada Elfadl

Everyone's a shut-in so we'll be watching the same movies at home.

Index (33 minutes)
00:01 Updates on health and the NYC self-quarantine 
04:20 Cactus Flower (1969) is a delight, though crazy sexist. We both fell hard for Ingrid Bergman and enjoyed Goldie Hawn's Oscar winning debut, too. It's streaming on Criterion Channel. We also talk briefly about our reader's choice series thus far and what's next.
17:38 The latest adaptation of Emma starring Anya Taylor-Joy. Murtada really loves Bill Nighy and Nathaniel loves the look but we both think it's not as strong as the 1996 Gwyneth Paltrow version. 
26:30 Bonus randomness - two perfect leading lady star vehicles: Rita Hayworth in Gilda and Cher in Moonstruck.
31:00 Wrap-up

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? 

Cactus Flower, Emma, Quarantine

How had I never seen...“While You Were Sleeping”?

by Cláudio Alves

Some films prove their greatness by challenging the audience. Some engage the mind, others spellbind the senses, immersing those who watch them in formalistic dreams of celluloid and digital beauty. Abrasive, cerebral, immersive, cinema can be a wonder, but we shouldn't suppose there's a single path to cinematic glory.

Don't get me wrong, I love my slow cinema, my European art-house hits, and Philosophical reveries. To cry with Carol is magic, to wander through Stalker's desolation is like dreaming with open eyes and to see New York, New York is to applaud its spectacle of ambition. But a cinephile can yearn for simple pleasures, too. Sometimes, one just wants to forget life's troubles and escape, to enjoy the goofiness of a nice comedy or the sweetness of an impossible romance. Sometimes, one just needs a hug.

And I've only just discovered that While You Were Sleeping (1995) fulfills that need with the warmest of embraces…

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