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Tuesday, 31 August 2010
It’s a nice note to end the meme on. Confession: when I read the challenge the first image that popped into my head was this.
I know, I KNOW! More from Titanic and it’s not even a real moment – yes, but I’m right there cheering on. Well in my mind.
There really are so many moments when I’ve felt that vicarious thrill when cinematic characters finally get their acts together. As much as I love Anne Baxter in All About Eve I can’t resist cheering George Sanders on as his Addison DeWitt has way with her (hitting a woman is wrong, but not when she’s Eve Harrington).
Or how about Kate’s Christina Drayton telling off her racist worker? "Don’t speak just…go!"I find myself ecstatic when Ethan's degenerate of sorts manages to make his getaway at the end of Gattaca or I’ll pretend I’m part of the audience when Will & Viola complete their performance of Romeo & Juliet in Shakespeare in Love. The thing is nothing gets more cheers than brilliant ends and performances…so naturally an ending that IS a performance gets double the cheers. And when it’s Baaaaaaaaaaaaarba? Who can resist?Yes, that gets a big whoopee from me….and so the MEME ends. Sigh.
Monday, 30 August 2010
The GLEE MEME continues...
I never expected them to become a real couple, even though in retrospect they’re kind of hot together. "Wheels" is arguably Salling’s best episode in the front 13 episodes (or maybe "Mash-Up") i.e. the episode where he actually gets a salient plotline. To pinpoint a moment in particular it would be cake fight in the Home-Ec Room. The Glee cast are so busy being old for their age that it’s nice seeing them be silly (remember “Jump”). It’s the first time I felt a legitimate connection between the two. And then there’s the moment where he gives her the stolen money. I’d been a moderate fan Quinn of fan before and Dianna works well here. For all his badassedness it’s nice seeing these moments where Puck is not mean and Quinn’s not fickle.
Apparently I have too much of an affinity to films where the protagonists end up dead, so I’ve inevitably covered a number of them in the meme already. I didn’t cover Zeffrelli’s 1968 interoperation of Romeo & Juliet and though it’s as clichéd as it can be but it’s still sad because Shakespeare’s is as timeless as can be and Olivia Hussey and Leonardo Whiting give two of the best debut performances I’ve ever seen. And if the original Romeo & Juliet makes it, of course the musical version makes it too. I already mentioned how sad an ending it is, even though more than a few say they don’t care for Richard Beymer in West Side Story (the moment is all Natalie’s though).
When American Beauty ends I’m not particularly sad that Lester has died because as excellent as Kevin Spacey is I have little affection for the character. But it’s implications of the death; it’s really pointless in so many ways and only underscores the banality of the characters’ lives.
And just because 1996-199 is one of my favourite Best Picture streaks I have to mention Jack Dawson and Katherine Clifton. I think I’ve dedicated enough space on this blog to Titanic and The English Patient – so I won’t tire you with more. But yes, I do consider the respective deaths of the protagonists to be sad.
It’s a bit of a loaded question, truly (considering all the films anyone has seen) but which character death stands out to you?
(Disclaimer: No films from the aughts make the list because that’s a separate post. Part One: HERE)
And yes, this is all for the MOVIE MEME
“I still have the full use of my penis.” That's what Artie, the wheelchair dude, tells Tina when they get to talking about his cripple status. It's a totally out of the way moment, and I love Jenna Ushkowitz facial reaction. Though they're both even better in the "Dream On" episode later in the season, I love to see them getting to know each other in "Wheels".
All this as the GLEE MEME continues.
Sunday, 29 August 2010
More as the Glee Meme continues.
For a considerable amount of time I didn’t like Rachel with Finn…rather I didn’t like Finn, period. I’ve warmed up to him as a character, considerably, I know Finn is hated. I don’t have any significant feeling towards him either way; he’s boorish at times and hilariously enjoyable at others. It wasn’t until the back 9 that I started feeling any legitimacy in the would-be relationship of the two, though. “Hell-O” was the turning point, in fact “Hell-O” was the turning point for Finn. I’m not invested in Glee for the romance, but I don’t know if was hearing him sing “Hello, I Love You” or maybe Santana was right: by dating a “hot pretty girl” like her he’d move from dumpy to cool. Either way, even though the two spend the episode arguing their moments are great. Rachel’s tearful words to him are a strongpoint for Lea and Finn’s realisation of why he should be with Rachel works because despite his faults Corey Monteith is able to make that spaced out mind of Finn’s seem logical – in Glee world, at least. Corey Monteith sleepwalked through the first thirteen – or maybe that was Finn – but he stepped up in the final nine, beginning with “Hell-O”. I guess Mr. Schuester was right; he needed a new “Hell-O”. I still don’t really care for them as a couple, but then I’m not interested in Glee for that stuff, really.
This was ridiculously easy. Even though I remember seeing The Wizard of Oz very young, I remember seeing The Sound of Music more than twice a year for a very long time. My older sister still refuses to watch it, my mother still loves it and I still know way too much of the dialogue but there it is. “The hills are alive….” How could I resist?
Saturday, 28 August 2010
It seems each time I start thinking about The Talented Mr. Ripley I get obsessed with writing about it. Watching it yesterday I still think that each member of the main quintet should have walked away with Oscar nominations – but I’m greedy like that. I gave you my pipe dream last week for a prequel about the life of Marjorie Mellor before she became wife to Jack and mother to Jenny and now I’m thinking about another sequel for The Talented Mr. Ripley. As brilliant as Gwyneth Palthrow is (and she really is) I can’t help being interested in Cate’s Meredith Logue whenever she appears on screen and Matt Damon and she have such good chemistry together. Earlier in the week I spoke of the ending and it’s implications for Ripley – a life of loneliness. Yet, what happens after? Does Tom (aka Dickie) ever meet Meredith again? Imagine the sort of film that could be.
Of course, Anthony Minghella is no more – he wrote and directed the actual film, but I’d still like to see Cate and Matt team up for a sequel picking up ten years after the credits rolled. I think Sam Mendes could do a nice job of handling it, even if he’s never done anything quite like that. Who knows what will happen? Perhaps Tom will eventually kill her too, but it’s sort of odd that Cate who seems to work with everybody hasn’t worked with Matt since. Maybe they’d go to another location, who knows? I just know I’d like to see more of Tom Ripley, and the actual book was a series of book so I’m sure there are loads of adventures he could get himself into.
Would you be interested in seeing more of Tom Ripley? Who would you put to direct?
I hate this day in the meme, because really overhyped is a double edged sword. Overhyped by whom? Bloggers? Critics? Awards? I could make a long list of films I’ve never connected to that have been wildly popular with all three.
Memento, Juno, Precious, Michael Clayton. Four films I think are to varying degrees fine or good (all B-s) and each with something to show for them; none of them ever managing to interest me more than in passing. But overhyped? In parts, but not unworthy of praise.
But I had to settle on something, so I settled on one of my least favourite Best Picture wins of all time – incidentally a musical – An American in Paris.
Over time I’ve come to appreciate Gene Kelly more, though I think I’ll always prefer him as a director. Still, An American in Paris is a film that infuriates me whenever I think of it. Owing to its stellar reputation, I – stupidly – spent a lot of money buying a special edition DVD a few years ago. I saw it once and promptly gave it away to a friend. It’s difficult to pinpoint where by dissatisfaction with the legendary musical begins. I’m sure the fact that I care nothing for the characters has something to do with it, perhaps it’s the music which I don’t find memorable at all or perhaps it’s just my weirdness. Perhaps, calling it overhyped is petty but it fits the bill. It’s ridiculously praised and I watch it and am completely flummoxed as to the reason. I’m willing to be schooled though…make an argument for An American in Paris. What makes it so good?
The Glee MEME continues…I’m choosing more than one. I can’t commit.
I like Idina from listening to her on “Rent”, “The Wild Party” and “Wicked” soundtracks – but she has a penchant for vocal overexertion – an apparent inability to tone down. I don’t know if it’s her age, or the character but she’s flawless on Glee (rewatching the back 9 last week I feel like a fool for leaving her off my guest list. She’d easily make the top 5. Ugh.) I’m still mostly apathetic to Lady Gaga but the rendition of “Poker Face” between Idina and Lea is all sorts of brilliant. In some ways it’s a master class in singing. And the moment is just bloody brilliant. Ironically, perhaps, another duet that always gets me smiling is Lea’s pairing with the other “Wicked” cast member – Kristin Chenoweth. “Maybe This Time” works surprisingly well as a duet and though my allegiance is with Kristin (naturally) it’s never one-sided. April is so much of a cautionary tale for Lea and having them pair up for that number is not incidental. They don’t get to sing to each other like her and Idina, but it’s still lovely.
Matthew Morisson continues to be woefully underrated, he’s good…but he’s even better when he gets a talented performer to duet with. “Dream On” and “Fire” could go down in history. On the former the pairing with NPH is brilliant to watch (even if I wish they’d song “The Confrontation” from Les Miserables. And talking about “Fire” Kristin Chenoweth brings out the best in Morrison on the whole (those two have wicked chemistry) – even in the non-singing parts. They work great together.
I’d like to make mention of Morrison’s final song of the season – “Somewhere Over the Rainbow” with Puck is great. I’ll always have allegiance to the original arrangement, but this one works just as well.
Friday, 27 August 2010
I’m working on a review of another Minghella film, and after touching on his The Talented Mr. Ripley for the Movie Meme yesterday I felt like watching Cold Mountain. In retrospect I suppose that Cold Mountain’s chancing of a genuinely warm reception were sunk before it was even released. The golden age of Miramax was at a peak coming off the banner year that was 2002 for them, Nicole Kidman and Renee Zellweger were two cinema’s brightest stars, and Jude Law was no black hole himself. Truthfully, I resent the way that’s Cold Mountain is remembered today because I really do like it. Is it the shameless attempt for Oscar glory that it’s advertised at? Tough question. Perhaps…but that doesn’t really say much.
Cold Mountain is two stories in one. On one side of America Ada Munroe is working on keeping her spirits up as she waits for a man she never really knew to return home. She’s befriended by an intrepid drifter, Ruby Thewes, and together the two start to work on Black Cove farm. On the other side W. P. Inman is making his way back to Ada after having deserted his troops in the Civil War. Cold Mountain is one of those infuriating love stories that have the couple in question apart for the majority of the film. I’m sure I wasn’t the only one seduced by the possibility of Jude and Nicole together, even though they’re more often than not apart. Really, Cold Mountain’s never really a love story. Some other (potentially clichéd) maxim would probably do it more justice – finding your true selves, overcoming odds; etc.
It’s strange, somewhat, when Cold Mountain came out Nicole Kidman was immediately forgotten in favour or Jude and Renee. Granted, she’d just recently won the Oscar (deservedly) for her work in The Hours but she’d easily have displaced three of the actual nominees that year. Today, Renee Zellweger’s win is regarded as one of the Academy’s largest travesties. I chuckle at that one. I don’t know if that’s the reason that she seems to be so hated now, but it seems silly. I like Cold Mountain, and generally everything about it and I don’t find her performance offensively bad – I don’t find it bad at all. But I’m digressing…there’s no point in turning this into an entry for defensive cinema.
At its heart, it’s a war story in the best of – and worst of – ways. But for a few random moments it never goes to the forefront of battle – and even those aren’t particularly significant, but it shows the effect that war has on a small town, the effect it has on its people, especially those left behind. It’s adapted from a novel, and that makes it that less subtle when it comes to touching on the important issues, but that doesn’t make me any less fond of it. It’s on the nose, but in a good way. There’s a scene where Ruby stands in a bar, “They make the weather and then they stand in the rain and they, ‘Shit! It’s raining!’”. In all its obviousness it’s a perfect summation of war and its effects. It’s a bit of a departure for Minghella in some ways, because Cold Mountain is decidedly more sentimental than anything I’ve seen from him before. I’m willing to admit it spends about thirty minutes settling into itself as it should – but I forgive it those strange moments because even in those odd moments where the story seems to falter it’s only innocuous. The film is still technically proficient. The main trio are good, but Kathy Baker, Philip Seymour Hoffman, Brenda Gleeson, Donald Sutherland and Natalie Portman and Jena Malone in brilliant cameos do good work too. No one ever thinks of Cold Mountain in terms of an ensemble cast, but it is. And it has one of the most brilliant scores of the decades, backed by beautiful music from Alison Krauss. Perhaps, general nepotism makes me fond of it but I often think that Cold Mountain’s not given enough credit.
What did you think of Minghella’s final epic?
I probably love Glee so much because I’m a major music buff (inherited from my father who’s an actual musician). The MEME continues.
I don’t like Neil Diamond, I appreciate his music but he tends to annoy me – it’s probably years of seeing his Christmas Special more than thrice a year every year for most of my life. Still, Noah Salling singing “Sweet Caroline” was a nice surprise. I don’t even have any significant affection for the song, but it worked in more ways than one – and it’s nice to hear him sing alone, that’s rare. It’s never happened since (go figure).
Speaking of Jewish greatness, Lea Michele’s “Don’t Rain On My Parade” is pure brilliance. She’s not Barbra, but she’s not supposed to be. The reason the covers on Glee manage to work is because they’re never attempting to copy the original. It’s her “moment” and it works because Lea completely delivers. She sings and she acts at the same time…that’s rare with young performers
[On a side note on the topic of Barbra and Funny Girl though, I’d call Idina’s rendition of Funny Girl better than Barbra (insert offended gasp). I’ve never really felt the song fit the musical – it was written specifically for the film. But Idina sort of rocked it with her “Theatricality” even if it doesn’t make my top 3.]
In the end I turn to another guest for my favourite solo though. There’s something moving about the lyrics for “Home” from The Wiz and though the choir provides back up – it’s a solo and one that impresses on all counts. It’s a moving moment, for April and because Glee loves to get moralistic on us it’s a given that they’re sending us a message. But I really don’t care Living here in this brand new world might be a fantasy….but it’s taught me too love, so it’s real to me.” Damn, those lyrics are incredibly saccharine and NOT badass, but damn if they aren’t still awesome. It works…it really really does.
The greatest villains are the ones we can empathise with, because when someone has our empathy they can become that more dangerous. There are dozens, scores even, of villains I could ruminate through. Perhaps, if I get overly meticulous, this isn’t my absolute favourite villain. But it shall do.
Before Fatal Attraction Glenn Close was noted for the wholesome women she played. I don’t think Alex is a villain – just slightly deranged and very sad. It’s Glenn’s performance in the next year that reaches iniquitous proportions for me.
Marquise Isabelle de Merteuil is the ultimate machinist of them all. The very film depends on her whims as she does her best to control those around her. I’m a big fan of Dangerous Liaisons (reviewed) and the cast is good – but Glenn always takes it a step further. She’s thoroughly diabolical but she throws us for loops continuously when we think what it like to be a woman of the era. It’s no excuse for her evilness but Glenn’s Marquise so brilliant because she makes us see the why behind the evil. It doesn’t make her less evil, it makes her more so because we can see just how much she’s capable of. It’s anyone’s guess what happens to her after her fall from grace but I’m sure her legend lives on 19th century France. What a woman – what a villain.
Thursday, 26 August 2010
Freakishly weird…what exactly does that mean? An ending that was inadequate? One that I didn’t see coming, one that was bizarre…some endings deliberately try to shock you and make you go “a-ha”. Most often they fall flat, it wasn’t that I didn’t see this ending coming – I didn’t – the delivery of it was just eerie – brilliant – but weird.
SPOILERS – obviously (Haven’t seen it? Don’t read it)
Unlike the runaway for The English Patient Minghella’s 1999 masterpiece The Talented Mr. Ripley wasn’t wholly loved (REVIEWED). Based on the eponymous novel it tells the story of the nefarious body snatcher (not literally of course) Ripley, played excellently by Matt Damon in probably his best performance. Ripley is at first infatuated with Jude Law’s deliciously mean Dickie Greenleaf, but eventually he murders him when Dickie gets tired of his friendship. He adopts Dickie’s personality for some time before having to kill again. Along the way he meets Meredith Logue (Cate Blanchett in a beautifully understated performance). After convincing most of his innocence in Dickie’s disappearance he makes his way out of Italy on ship with Peter, a mutual friend of Dickie’s who Ripley may, or may not, start a love affair with. Unfortunately, Meredith Logue is on the ship – she still think he’s Dickie, and so is Peter. He can’t kill her, she’s with her family – but he can’t be revealed so in the final scene Tom kills Peter. It’s more than a rote killing because he does love Peter, but he loves his freedom more so as Peter tells us all the great things about Paul Ripley we see him sitting in the dark and hear the murder as he begins to cry tearfully and the screen fades to black. No ending will be creepier, even if they try more overtly. I’m repulsed, fascinated and moved by Ripley’s plight, which he of course brought on himself – that ending is definitely something special.
Am I the only one who was creeped out by this?
(More of the MEME)
I wasn’t purposely avoiding it or anything, but I missed Jennifer’s Body when it came out last year. Perhaps it was my general apathy towards Megan Fox and Diablo Cody. Granted, I’ve never seen The United States of Tara, but I’m one of those people who doesn’t care for Juno, or Ellen Page in it.
Fox, you probably know, stars as the eponymous Jennifer who gets sacrificed to the Devil by a rock band (led by Adam Brody) hoping to find fame. The sacrifice goes awry and Jennifer returns to the world – demonised. She must now feed on boys to maintain her beauty. Her best friend Needy (Amanda Seyfried) starts to put the pieces together. Generally, I was pleased by Jennifer’s Body. It harbours the traits of Diablo’s other film – dialogue that’s too quirky to be funny at times, but for the most part I think Diablo’s writing has matured, for the most part Jennifer’s Body is doing something good.
FOR THE MOST PART…
She still doesn’t know to wrap up a film to save her life and it’s what buries Jennifer’s Body. Perhaps, I over exaggerate (well, it’s me, so that’s normal) it doesn’t make the movie god-awful, it’s not god-awful. Up until a few moments before a certain spring dance it’s looking good but an ill-fated and all too clichéd fight to the finish throws me for a loop. Sure certain tears shed over a dying person are well handled, Seyfried is quite good here actually, but it’s just all too ridiculous – and it was already ridiculous to begin with. She attempts to salvage herself as the credits roll and a certain fateful seen is shown the background, it helps, but it’s no resurrection. As much I think Jason Reiteman is an unspectacular director, Jennifer’s Body could have done with stronger direction, it could also have done with more work from Cody. But I don’t hate it; I like it very much in some parts. I don’t hate Diablo Cody, just apathetic. Writing wise, for the most part, Jennifer’s Body is a step up from Juno. The woman has talent; she just needs to harvest it. I’m hoping third times the charm for her.
What did you think of Jennifer’s Body last year? Or were you one of the assassins that ensured it tanked at the box office?
Runners Up (Alpha): Alec Baldwin in 30 Rock, Adrien Grenier in Entourage, Hugh Laurie in House, Jared Padalecki in Supernatural, Bill Paxton in Big Love
Eligible Shows (Eligible does not mean featured): 30 Rock, Big Love, Brothers & Sisters, Burn Notice, Californication, The Closer, Community, Cougar Town, Desperate Housewives, Dexter, Entourage, Glee, Gossip Girl, Grey’s Anatomy, How I Met Your Mother, Law & Order: SVU, Lost, Mad Men, Medium, Monk, The Office, Parks & Recreation, Private Practice, Psych, Royal Pains, Samantha Who, Supernatural, The Tudors, Ugly Betty, Weeds
#10: Joel McHale in Community
as Jeff Winger
He alternates between making me cringe, making me laugh and making me surprised. It was slow burn, but I eventually got sucked in and he knows what he’s doing. Though I must be the only one who didn’t like “Modern Warfare” he was quite excellent in it. He works better when they forget the quasi romantic angst tendency and just let him do his thing as a douche we want to root for.
#9: John Hamm in Mad Men
as Don Draper
I wouldn’t praise his range, I don’t think he’s that diverse (loathed his arc on 30 Rock) but he excels in this role. I still can’t accept Mad Men is a world-wonder (no show on right now gets that accolade). I get too comfortable at times thinking I already know that he’s competent, but then he’ll surprise me. The role was made for him.
#8: David Duchovney in Californication
as Hank Moody
I only caught the last four episodes of the season, and really my interest in the show – for some reason – is waning. Duchovney is still amazing. I’m not sure how he gets nominated for everything BUT the Emmy. The show isn’t that offensive? Is it? He’s not exactly someone to root for, but who cares? He’s doing an excellent job just being brilliant.
#7: Jeffrey Donavan in Burn Notice
as Michael Westen
He’s not as big a star, but he’s up there with James Earle Jones with the memorable voices. Not even Michael C. Hall’s Dexter is as cool. It’s not a straight-up drama (honestly, I think it’s a comedy), so he doesn’t get all emotive or hardcore like other actors get, but he’s consistently good – even brilliant at times.
#6: James Roday in Psych
as Shawn Spencer
One of the best comedic performances that’s being ignored, says me. Psych is ridiculous, Psych is ludicrous and more and James keeps on delivering bits of comedy that are just too funny to be forgotten. He even knows when (and more importantly how) to pull out the dramatic chops.
#5: Steve Carell in The Office
as Michael Scott
Sometimes, it pains me to say, the writers just don’t know what to do with Michael. When they do, it’s brilliant. He works off everyone, he turns Jenna’s key moment into a good time for him and he’s so pathetically dense at times, yet we still root for him. We roll our eyes at his monologues, but we should – the man is hilarious.
#4: Matthew Morrison in Glee
as Will Schuester
How’s this for sacrilege? I know Morrison is the object of loathing for a host of Glee fans, but I can’t reciprocate. His Will is a believable amount of dense, but realistic enough to not be a complete buffoon. He has excellent chemistry with the entire cast (particularly Lynch and Mays) and though he’s probably too young for the role (or are the “children” too old?) he delivers, managing to make those inevitable emotional moments work brilliantly but still being game for silly moments (like that darned “Thong Song”).
#3: Jonathan Rhys Myers in The Tudors
The fact that he never earned an Emmy nomination pains me. I think, perhaps, that might have prevented him from seduced by a bald-headed Travolta and starring in drivel. The Tudors doesn’t even count as “regular” TV that unfortunately gets looked down upon. It’s essentially a never ending movie, he’s talented. Pity it’s the end of the series.
#2: Tony Shalhoub in Monk
When people criticise the Emmy’s love for him I’m nonplussed. Couldn’t it be that he’s actually good? I mean – it’s not like he’s in 2½ Men. Granted, the show doesn’t sizzle as much but Shalhoub continues to deliver each week. The finale had me mixed, but his performance? I never doubted it.
#1: Michael C. Hall in Dexter
as Dexter Morgan
For me he’s undeniably the strongest actor on television at the moment. I practically worship the actual show, though I’ll admit that keeping Dexter as a (forgive the use) badass and keeping him “good” is a struggle (sometimes he leans too much to the latter). He makes it work ultimately, though. Gloriously.
Previously:
Lead Actresses
Supporting Actors
Guest Performers
Which Leading Man ruled the last season in TV for you?
The Glee MEME gets weirder now…
This question is a bit ridiculous. I mean Glee’s had what – a hundred songs by now, and I have to choose one? You know how much I hate commitment. The first song that came to mind was “Proud Mary” – there was something special about the entire “Wheels” episode and the wheelchairs managed to come off as sincere and never schmaltzy. It’s something Glee knows to do well – avoid schmaltz. They even make teen pregnancy hilarious.
Sometimes it is a bit intense, though, so seeing the children have fun with some cool hip-hop like “Ride With Me” was a welcome treat, and more remarkable because it was all so fun. It wasn’t about hitting the notes (it is a rap song) just about the fun.
They also know to just have fun which is why “Jump” is a number I’ve seen more often than I care to admit. It’s not a plot number – it’s not supposed to be – it’s just pure fun. Everything works the mattresses, the pyjamas and the acrobatics. “Mattresses” is such a heavy episode that the burst of fun in the middle does well to make it that less grating.
Two numbers should be here…but they’re slated for a particular day in the future.
Wednesday, 25 August 2010
It’s not something I go around screaming from the rooftops, I don’t want to be a cinematic pariah, but I admitted a few months ago over at Movie Mobsters that I was yet to see Jurassic Park – in any incarnations. I promised Heather I’d watch it, though life and other crap have prevented me. I plan to – soon – I can’t think of any significant excuse, I just never got around to seeing it. It seems odd, but there it is…
The Glee MEME continues.
Like yesterday, this was a no-brainer for me. Mark Salling’s Puck is my favourite character of the entire show even though he’s woefully ignored oftentimes – which is odd, considering he has a music degree. Of the main twelve (fourteen if you add Santana and Britt) Salling had the toughest task in the front portion of the season, episodes which makes me even more appreciative of what he does with Puck and the thing is – it doesn’t get easier. It doesn’t take much to realise that Glee is deliberately creating pastiches of every high school show or movie (the dumb jock, the loud mouthed diva, the pocket gay, the mean jock), what makes it special is seeing how they deviate from the norm.
Naturally, it was “Preggers” where Puck starting seeming like someone to take note of. The babygate drama (who came up with that name?) had its moments of sheer ludicrousness but I didn’t hate it. Maybe it’s my general tendency to root for the baddies (from Spike in Buffy to Alex in Grey’s Anatomy to Karen in Will & Grace to Ryan in The Office) but I immediately understood Puck’s dilemma. Yes, he was the cheating best friend (a plot point that needed serious closure) but beneath his overt oafishness it’s not difficult to see that he’s not wicked without a purpose. He still has insecurities like the rest of them, which because I’m nepotistic I wish they’d examine more. His sizeable part in Mash-Up is one of the reasons I love that episode so much. Still, Puck (or Salling) is constantly ready to bring the funny and deliver on the intense broodiness that is the Puckster. Add all that to the fact that he’s so obviously the best male performer on the show (except, maybe, for Morrison) it’s a bit of a no-brainer. Seriously, few things were cooler than his semi-solo on “The Lady & the Tramp”.
The writers seem most confused as to what to do with his character…they have taken the most missteps with…but I’ll examine them later in the MEME.
Are you convinced of Puck’s badassedness, or are you a doubter?
Tuesday, 24 August 2010
“There is something peaceful and quiet about Howards End, starting with Vanessa’s haunting walk and introduction. To me, it feels like the essence of the British countryside, of elegance and that high class feeling that Brits always put in their period films. Howards End is, to me, James Ivory’s greatest achievement, such a delicate film, but with such power of acting and fascinating plot.”
Alex (of Alex in Movieland and My Last Oscar Flick) always manages to make each of his words count and his summation of Howards End is fittingly perceptive.
The name Merchant Ivory was in the nineties (and remains, but with less alacrity) a name indicative of good literary adaptations. Howards End easily exists as my favourite. Screenwriter Ruth Prawer Jhabvala seems incredibly at ease adapting Forster to the screen, so that the machinations of these very “literary” characters never come across as unnatural. She does the same with A Room With A View, another Forster novel, but this is in a class of its own. It’s interesting to note how much of Forster’s book (and actual lines) make it into Jhabvala finished script. The lines are as precise as few period pieces and sets up the chance for the actors to floor us with their deliveries, and they do – they really do. When Jose from the wildly insightful (but yet oddly hip) Movies Kick Ass sent in his blurb I wondered “why review it?”…he essentially summed up what I loved about it….
“It’s impossible to watch this movie and avoid being haunted by the image of Vanessa Redgrave walking along a vast path of grass. The ethereal nature of this scene sets a strange mood over a film that so unsentimentally examines the clash of social classes and the creation of what was supposed to become modern England. Emma Thompson and Helena Bonham Carter (both subtly extraordinary) play sisters who come to represent different schools of thought at the beginning of the twentieth century. Anthony Hopkins and Samuel West are their male counterparts who also become symbols for the underlying themes E.M. Forster addressed in his brilliant novel. The miracle in the movie though is watching these symbols become human and witnessing how the film works as a wonderful political study and as an involving, intense emotional drama. Few movies master with such ease the dichotomy that exists between mind and heart; which can be fierce enemies or intimate friends.”
It’s the penultimate line above that jolts me in particular. In transferring a novel so rich in symbolism to the screen Ivory and company manage to avoid one of the unnerving possibilities – caricatures. Instead of the characters becoming symbols, the symbols turn into characters (it seems synonymous, but mull it over – it’s not)
Consider the words of Luke of Journalistic Skepticism (don’t let the name fool you, he’s much to opleasant to be a cynic):
“Battling through the myth that Merchant Ivory films are overlong and overwrought, Howards End combines the immense talents of its cast, particularly the always-lovely Emma Thompson and the startlingly beautiful Helena Bonham Carter, with an impossibly elegant backdrop. It’s a gorgeous costume drama that never looks down on its audience, and Thompson’s performance is mannered loveliness.”
It’s a period piece, but that doesn’t make it any less “real”. Howards End is intent to presenting as precisely normal a world as possible and Emma manages to find nuances in even those most rote of lines and adds a dash of personality in the places we’d least expect. For example, I love a slight moment where Redgrave’s Mrs. Wilcox instructs her to write her name on the top of the woman’s Christmas list – Emma’s gleeful obedience is amusing and completely in keeping with her character. This is the sort of woman who grows up before her time, but still retains a bit of the silliness – willing to be pleased at being at the top of someone’s Christmas list.
“Howards End is the second masterpiece from the Merchant-Ivory team (E/N masterpiece #1, masterpiece #3], working at the height of their creativity. Anyone expecting the dreamy romanticism of their first masterpiece, A Room With A View, may be surprised at the complexity, subtlety and maturity of this drama. The luminous Emma Thompson, passionate Helena Bonham-Carter, and powerhouse Anthony Hopkins headline this tale of a country house, its meaning in the lives of its inhabitants, and its role in a series of misunderstandings that bring belated contentment to some, and ruin to others.Gorgeous to look at, a dream to listen to, top-notch in all departments, this is intelligent film making at its best. Compelling and entertaining, it faithfully paints a tapestry of Forster's themes of love, class, family tradition, infidelity, and the yearning of artistic fulfillment. Vanessa Redgrave's supporting turn is but one of the film's many outstanding performances. I am also haunted by the symbolic image of a poor hanger-on literally crushed by his literary hopes and dreams. Howards End would sit proudly at the top of anyone's list of favorite films.”
So says Tom of the delightfully diverse Reinvention: The Journal of a Dog Lover...
It’s practically perfect in every way and so delicately made, it’s a pity many don’t even remember it. It’s #2 on my list of favourites, and really it’s interchangeable with the one to come since they’re both flawless, or thereabouts. (So, some of you would have discerned my obvious top choice.)
Do you care for Merchant Ivory? Do you care for Howards End? Speak up.
I'm feeling ridiculously tired at the moment, and really the possibilites are endless (I sense a series of post imminent on this topic). Nonetheless, the ones that came to mind first...
Beautiful Profundity
The English Patient: “Betrayals during war are childlike compared to betrayals during peace. New lovers are warm and tender, but smash everything…for the heart is an organ of fire.”
The Lion in Winter: “Of course he has a knife, he always has a knife, we all have knives! It's 1183 and we're barbarians! How clear we make it. Oh, my piglets, we are the origins of war: not history's forces, nor the times, nor justice, nor the lack of it, nor causes, nor religions, nor ideas, nor kinds of government, nor any other thing. We are the killers. We breed wars. We carry it like syphilis inside. Dead bodies rot in field and stream because the living ones are rotten. For the love of God, can't we love one another just a little - that's how peace begins. We have so much to love each other for. We have such possibilities, my children. We could change the world.”
Brilliant One-Liners
The Philadelphia Story: “This is the Voice of Doom calling. Your days are numbered, to the seventh son of the seventh son.”
The Big Chill: “I don't know anyone who could get through the day without two or three juicy rationalizations. They're more important than sex.”
Gosford Park: “I'm the perfect servant; I have no life.”
Useable in Everyday Life
There’s a scene in The English Patient when Ralph Fiennes’ patient turns to Juliette Binoche’s Nurse – Hana. “Did you know Herodotus is the father of all history.” She responds glibly, “I don’t know anything.” The line itself is nothing of brilliance, but Binoche’s line reading has stuck with me since…I use it quite often with the same inflection. It's true.
All for the MEME.
And so another MEME begins. I can’t say I’m sorry.
Glee may have its problems, but I don’t think its characters (or characterisation) is one of them.
I’m glad the first day on the meme is so simple. Lea Michele’s loquacious, high maintenance and overachieving Rachel Berry is easily my favourite female of the ensemble. It’s difficult to divide favourite character from favourite performance and it’s no different here because I think Lea is arguably the strongest woman on the show, too. Still, despite being the de facto lead of the show, Rachel is always regarded with distaste. Really, she’s no more petty or conniving than her fellow Glee clubbers. The writers have searing moments of perspective (wish they were more consistent with that) and Rachel herself notes the issues with herself. When she tells Finn in “Hello-O” that he’ll only ever see her as the obnoxious girl who made a fool of herself in their first Glee Club rehearsal I think that she’s on to something – it’s the way most people seem to see her, in Glee world and in the real world. Rachel’s dedication to the club is infuriating at times but it’s laudable in its own ridiculousness.
Not that I’ll shy away from her obvious discredits. Of course her obnoxiousness is an obvious reaction to people’s opinions of her. It’s a bit like the egg and chicken dilemma…which came first? Even when she’s being painfully bizarre there’s lucidity to her thoughts that’s startling. It seems, though, that no matter how many good deeds she does Rachel will always be the crazy chick from Glee. Perhaps I’m in the minority, but Rachel Berry’s my favourite on Glee for the girls.
It’s a shame so few seem to give her credit.
What are your thoughts on Ms. Rachel Berry (and Lea)?
Monday, 23 August 2010
I'll admit, Glee's not my favourite show at the moment, but it's somewhere close and I just find it so irresistible. I hope the inevtiable backlash that ensues when people get tired isn't too harsh. Anyhow, Glee's going to be back on the 21st with the season premiere...meanwhile, I'm doing a Glee meme. I know, I KNOW another meme. But I was emailed this and I just couldn't NOT do it. I'll be starting tomorrow, which means I'll end on the day of the premiere.
I'll admit, Glee's not my favourite show at the moment, but it's somewhere close and I just find it so irresistible. I hope the inevtiable backlash that ensues when people get tired isn't too harsh. Anyhow, Glee's going to be back on the 21st with the season premiere...meanwhile, I'm doing a Glee meme. I know, I KNOW another meme. But I was emailed this and I just couldn't NOT do it. I'll be starting tomorrow, which means I'll end on the day of the premiere.
Day 01 - Favourite Female Character
Day 02 - Favourite Male Character
Day 03- Your Favourite group performance
Day 04- Your Favourite solo
Day 05- Your Favourite duet
Day 06- Your Favourite Rachel/Finn moment
Day 07- Your Favourite Tina/Artie
Day 08 - Your Favourite Quinn/Puck moment
Day 09 - Your Favourite Kurt/Mercedes moment
Day 10 - Your Favourite Santana or Brittany moment
Day 11 - Your Favourite Sue Sylvester moment
Day 12 - A scene/moment that pissed you off
Day 13 - A scene/moment that made you cry
Day 14 - A scene/moment that made you happy
Day 15 - The couple you ship the MOST
Day 16 - Your Favourite episode
Day 17 - Your least Favourite episode
Day 18 - Your least Favourite character
Day 19 - Your least Favourite performance
Day 20 - Your Favourite quote
Day 21 - Your Favourite guest-star
Day 22 - Your least Favourite guest-star
Day 23 - The character you most relate to
Day 24 - The character you would like to hear/see more of
Day 25 - Something that happened you wish hadn’t
Day 26 - Something that hadn’t happened but you wish had
Day 27 - Your idea for a future Glee episode
Day 28 - Your idea for a future Glee character
Day 29 - Your idea for a future Glee performance
Day 30 - Whatever tickles your fancy
Am I the only one unnaturally obsessed with Glee at the moment? Any takers to do the MEME with me?
Day 01 - Favourite Female Character
Day 02 - Favourite Male Character
Day 03- Your Favourite group performance
Day 04- Your Favourite solo
Day 05- Your Favourite duet
Day 06- Your Favourite Rachel/Finn moment
Day 07- Your Favourite Tina/Artie
Day 08 - Your Favourite Quinn/Puck moment
Day 09 - Your Favourite Kurt/Mercedes moment
Day 10 - Your Favourite Santana or Brittany moment
Day 11 - Your Favourite Sue Sylvester moment
Day 12 - A scene/moment that pissed you off
Day 13 - A scene/moment that made you cry
Day 14 - A scene/moment that made you happy
Day 15 - The couple you ship the MOST
Day 16 - Your Favourite episode
Day 17 - Your least Favourite episode
Day 18 - Your least Favourite character
Day 19 - Your least Favourite performance
Day 20 - Your Favourite quote
Day 21 - Your Favourite guest-star
Day 22 - Your least Favourite guest-star
Day 23 - The character you most relate to
Day 24 - The character you would like to hear/see more of
Day 25 - Something that happened you wish hadn’t
Day 26 - Something that hadn’t happened but you wish had
Day 27 - Your idea for a future Glee episode
Day 28 - Your idea for a future Glee character
Day 29 - Your idea for a future Glee performance
Day 30 - Whatever tickles your fancy
Am I the only one unnaturally obsessed with Glee at the moment? Any takers to do the MEME with me?
So the weekend has come and gone and I was lucky enough to get some entries for my semi-blogathon chronicling great moments of cinematic rain. I call it semi because I didn't really publicise it, what with internet problems and my general laziness. Still, I've managed to rack up some good entries, many of them unexpected...which I like.
Nicholas examined the rebirth of Rose DeWitt Bukater, when she becomes Rose Dawson as she reaches America. It's a moment in Titanic I love (but then, I love all of it) that often seems forgotten.
Remember the climax of American Beauty in the rain? Marshall covers that one. That's another favourite of mine, Annette walking in the rain always gets to me.
Speaking of Sam Mendes, Castor looks at Tom Hanks in Road to Perdition. That movie is woefully underrated.
Ryan's first choice was Giselle's two moments in the rain in Enchanted. Then he rethought it and decided to cover an important moment in Slumdog Millionaire. Both are good...which do you prefer?
Darren covers a number of scenes, though the shot from Unforgiven - not my favourite Eastwood, but fine nonetheless. And his analysis is excellent.
Jose took a look at a film I've never heard - of The Zone the shots look lovely and it seems interesting, but lack of knowledge doesn't make his entry any less interesting.
Ruth covers three scenes, all form Jane Austen adaptations. You know I love the British...and really who can resist Jane Austen+Kate+Keira and rain?
Amy covers three scenes, the one in Plesantville sticks out.
Ruben touches on the opening of Fincher's Seven and then quotes a nice line from Big Trouble in Little China.
And I look at a moment in The English Patient - Fiennes, Binoche, Fitzgerald and rain. Lovely.
ADDENDUM: Twister covers Being John Malkovich...another moment I didn't see coming, and one that's brilliant.
ADDENDUM: Twister covers Being John Malkovich...another moment I didn't see coming, and one that's brilliant.
Thanks everyone for participating, and thanks to Jose for the idea! Who knew getting wet was so much fun?
I was stumped, somewhat, with this day of the meme. I’ve seen a number of action scenes, I’m sure, but I’d be hard-pressed to call any of them a favourite. Eventually, I realised the issue was defining action – a car chase, a deadly duel – what is an action sequence? It would be a copout to submit the entire two and a half hours of Minority Report (already covered), and though it’s not particularly respected I’d just as easily submit the whole of Shoot ‘Em Up – that movie just puts me in a ridiculously good mood. The Ministry Duel Duel in Harry Potter & the Order of the Phoenix is so meticulously directed i can’t help but be enthralled – and then there’s the violent centrepiece of Ran, it’s as brutal as they can come.
A few weeks ago Heather completed a list of her favourite battle sequences and in it she listed a scene I have great love for. The Lord of the Ring’s The Two Towers’ battle at Helm’s Deep. I don’t know if it’s because the rest of the second instalment seems so placid but the climax at Helm’s Deep is just so riveting and it always ends up seeming like the aha moment of the trilogy where the battle really begins. I’m not sure if it’s “action” in the natural sense – but it’s good enough for me.
All for the MEME.
Sunday, 22 August 2010
This entry is part of the blogathon on moments in the rain, cinematically.
As soon as Jose suggested the idea for this semi-blogathon my mind went to Juliette Binoche. It’s probably because I’m in all types of love with The English Patient, but it’s always the first film that comes to mind when I think of rain and movies. It’s a tad ironic considering that at least half of the film takes place in the sweltering desert. I’ll be reviewing The English Patient sometime soon, it’s a rather dismal tale at times but somewhere, three-quarter way through the epic, the eponymous patient who’s severely burnt yearns for rain on his face. As fate would have it, the rain comes and as we listen to Ella Fitzgerald croon and as Naveen Andrews, Kevin Whatley and Willem Defoe cart the immobile Ralph Fiennes around the fountain and the jovial Juliette Binoche tags along just to be silly it makes you forget that we’re watching an Anthony Minghella tragedy…
The scene in question occurs midway through the film, even though – if pushed – I’ll single out the desert portion as my favourite of the film this portion that I adore takes place in the Monastery. It’s just after one of the film’s symbolic climaxes; Naveen Andrews’ Kip is called to defuse a bomb that – literally – has his name written in the serial number. Hana (Juliette Binoche) has a bad feeling about the day and bicycles down to the well. The bomb is defused just as the news reaches Italy – the war is over. It’s over the embrace of Kip and Hana (before the rain) that “Cheek to Cheek” begins to play.
I’ve never heard the song without thinking of the rain since…and Ella's version is the best.
We get a beautiful shot of the dark sky.
Then we cut to Juliette, in her same nondescript house drench – drenched in rain – but still beautiful.
HANA: It’s raining.
It’s the only dialogue in this scene, the chapter in the DVD is titled just that – “It’s Raining”. Immediately after the line she laughs like a silly schoolgirl – which, trained Nurse or not, Hana is like many times. To offer some perspective, she’s taking care of eponymous Patient – Ralph Fiennes. His body is thoroughly burned and he’s bedridden and after being found in the desert by some Arabs he’s been moved to the Monastery with Hana watching over. Earlier in the film he tells us that he longs to feel the rain on his face…he gets his wish.
The rain is so obviously a thing of cleansing – so many of the posts have touched on that. It’s the single moment of complete abandon in the film, Kip’s eventual departure, the Patient’s potential death, Carravgio’s thievery and missing thumbs – none are of consequence at the moment. The war is over and the rain is falling. There’s really nothing to do but take the patient out and run around the fountain.
Theoretically, nothing is added in this scene. No new ground is travelled, no new depth is found – but that’s the point, I think. The English Patient is drowned in it’s pathos. In fact another scene of rain – well, raining sand – is almost indicative of the film itself as Almasy (the Patient before) and Katherine is almost drowned in a sand storm. But, in italy, when the storm comes – of water – it’s not dangerous. Like the sandstorm, though, it does bring our characters a little closer. It’s not a seismic event but something as transient as rain and the fun to be had in it can be important. It’s immediately after this scene that we’re pitched back into the bleakness of reality. One of the very characters dies a few hours later, but none of that matters in the rain. There is no logic as the three men lift the patient around the fountain, there’s no sense in Hana carrying an umbrella that serves no purpose…but it’s beautiful to watch, John Seale's cinematography is just lush and as the song says – “and the cares that hung around me through the week, seem to vanish like a gambler’s lucky streak” but only for a moment though.
Still, whenever I think of rain I think of the 4 minutes in The English Patient when reason was eroded for the pure abandon of a few drops of rain.
(I’ll post the full list of Wet Entries tomorrow morning.)
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