25th Anniversary: "The Crucible"

by Nick Taylor

Happy belated Thanksgiving, TFE readers! In the spirit of American History, here’s a nice slice of cinema on one of the US’s many exemplary passages of telling on itself: the Salem Witch Trials. Arthur Miller’s retelling of these events in The Crucible is so universally well known, but how much the 1996 film adaptation is part of that legacy? I first saw the film in my junior high English class (I’d already chewed through Miller’s play and Death of a Salesman before I was ever assigned them), and aside from a few indelible images of Joan Allen’s silent devastation at court or Daniel Day-Lewis’s artfully grimy self in prison, Nicholas Hytner’s rendition of The Crucible didn’t leave much of an impression. Where Shine presented an opportunity to check off a box I knew I wouldn’t check off without outside incentive, returning to The Crucible was a chance to find out once and for all how it holds up to the faded memories of a semi-interested high schooler.

Hytner’s adaptation opens by dramatizing the play’s unseen inciting incident, where one night a group of Salem’s daughters are caught dancing naked in the woods and are accused of performing witchcraft in the name of Satan...

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Horror Costuming: Black Swan (2010)

by Cláudio Alves

Unintentionally, this year's Horror Costuming miniseries has featured a lot of designers' partnerships. In both Hellraiser and The Cell, we explored how one person created a fantasy world while another cared for the mundane existence and its subtler evils. Those films showed how exemplary collaboration could produce unforgettable movie wardrobes. Now, with Black Swan, we arrive at a more disharmonious sort of alliance, one that fell apart after the fact, as the media celebrated some designers' work while ignoring the other, and the awards bodies did the reverse. It's a pity how much the controversy came to dominate conversations on the film's costumes. But, beyond the acrimony and scandal, Black Swan is a superbly designed horror movie whose costumes deserve analysis, applause, awards too…

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Winona Ryder @ 50: "Girl Interrupted"

We've been celebrating Winona Ryder all week for her 50th birthday

by Matt St Clair

During this pandemic, I’ve thought a lot about the climactic scene in Girl, Interrupted (1999) where Susanna Kaysen (Winona Ryder) is in the tunnels of Claymoore, confronting Lisa (Angelina Jolie) for pressing her buttons and trying to force her to feel the same amount of misery she does. As Susanna contemplates how the overall world is a cruel, inhuman place, she still proclaims, “I’d rather be in it!” 

At first glance, that proclamation is confusing. For Susanna, Claymoore and its thick walls are initially an escape from the cruel outside world. But between the specialists surrounding her generalizing what she’s feeling, and Lisa who acts as a confidante before proving that misery loves company, Susanna realizes that Claymoore isn’t entirely different from the world. Ultimately, she decides she’d rather be miserable yet out in the open than miserable and locked away...

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Winona Ryder @ 50: Little Women

We're celebrating Winona Ryder for her birthday this week

by Lynn Lee

Was Winona Ryder miscast in Little Women? Boy, was she ever. Or so I thought back in 1994 when I first heard she was playing Jo, second of the four March sisters, in the then-new film adaptation of the Louisa May Alcott classic.  As a teenager who’d read Little Women so many times it had become personal canon, I found the casting ludicrous on its face.  After all, in the book Jo is lanky, tomboyish, awkward, and plain.  Ryder, by contrast, was tiny, graceful, and so exquisitely pretty I had a bit of a crush on her, a fact that sharpened rather than softened my disapproval.  Still, in the end curiosity and my family’s tradition of going to see a movie on Christmas meant I got to judge for myself just how wrong she was for the role.

Readers, what can I say?  She completely won me over....

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Winona Ryder @50: the definitive "Reality Bites"

Team Experience is celebrating Winona Ryder this week for her 50th birthday

by Timothy Lyons

1994 was a watershed year for a young Winona Ryder. It started with her first Oscar nomination (and a Golden Globe win) for her performance in Martin Scorsese’s The Age of Innocence and would come to a close with the Christmas release of Gillian Armstrong’s superior adaptation of Little Women with Ryder’s performance as Jo leading to her second Oscar nomination in as many years (more on that tomorrow). Sandwiched between this diptych of heavily-costumed prestige pics was the release of Ben Stiller’s Reality Bites. Here was a film that would come to define a generation (Generation X) and featured the best, most natural, and luminescent performance of Ryder’s career.

I am a huge Winona Ryder fan - let me get that out of the way before we go further. She does however have a tendency towards the fidgety, the strangely mannered and vaguely uneasy in her performances. Sometimes this can lead to her work feeling slightly blank or disengaged, but more often than not (especially when called upon to play one of many outsiders) it is just right...

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