Nathaniel R welcomes the panel Yaseen Ali (cinephile), Kristen Lopez (critic), Rebecca Pahle (critic) and Kieran Scarlett (screenwriter) to discuss 1943 at the movies with recommended favorites and our favorite switch-the-actresses around game. We had previously reviewed the supporting actress nominees.
We talk about the three actresses in Ww II women's picture So Proudly We Hail. The running time slog of For Whom the Bell Tolls which doesn't showcase Gary Cooper and Ingrid Bergman well, the hit play turned message movie Watch on the Rhine and its place as a "homefront" movie when the war barely touched our soil, and religious epic The Song of Bernadette which won Jennifer Jones the Best Actress Oscar.
You can listen to the 1 hour podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? ...
We talk about the three actresses in Ww II women's picture So Proudly We Hail. The running time slog of For Whom the Bell Tolls which doesn't showcase Gary Cooper and Ingrid Bergman well, the hit play turned message movie Watch on the Rhine and its place as a "homefront" movie when the war barely touched our soil, and religious epic The Song of Bernadette which won Jennifer Jones the Best Actress Oscar.
You can listen to the 1 hour podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? ...
- 7/30/2018
- by NATHANIEL R
- FilmExperience
Presenting Oscar's Chosen Supporting Actresses of the Films of 1943.
A cruel nun, a flirtatious nurse, a gypsy rebel, a harried mother, and a wealthy hostess. It's not the elaborate start of a joke, but the nominated characters from the Best Supporting Actress race of 1943. There was only one returning nominee (Gladys Cooper) but in the 1940s all newbie lists were common since the supporting categories had been around less than a decade! Anne Revere and Cooper would eventually become three time Supporting Actress nominees but for Paulette Goddard, Katina Paxinou, and Lucille Watson this was their one and only time in Oscar's golden embrace.
This Month's Panelists
Here to talk about these five nominated turns and either agree with the Academy or crown a new retrospective winner are, in alpha order: Yaseen Ali (cinephile), Kristen Lopez (critic), Rebecca Pahle (critic), Kieran Scarlett (screenwriter) and Nathaniel R (your host here at...
A cruel nun, a flirtatious nurse, a gypsy rebel, a harried mother, and a wealthy hostess. It's not the elaborate start of a joke, but the nominated characters from the Best Supporting Actress race of 1943. There was only one returning nominee (Gladys Cooper) but in the 1940s all newbie lists were common since the supporting categories had been around less than a decade! Anne Revere and Cooper would eventually become three time Supporting Actress nominees but for Paulette Goddard, Katina Paxinou, and Lucille Watson this was their one and only time in Oscar's golden embrace.
This Month's Panelists
Here to talk about these five nominated turns and either agree with the Academy or crown a new retrospective winner are, in alpha order: Yaseen Ali (cinephile), Kristen Lopez (critic), Rebecca Pahle (critic), Kieran Scarlett (screenwriter) and Nathaniel R (your host here at...
- 7/29/2018
- by NATHANIEL R
- FilmExperience
Just two handfuls of links this morning. I'm still on my birthday tear for Tony weekend -- finally saw Hello, Dolly! on Broadway last night with Bernadette Peters and as usual she was an adorable diva. Laughed my ass off. A friend of mine revealed that he had already seen the show four times to see all three leading ladies. Bette returns to the show (with the magical Donna Murphy on Bette's off days since Bette can't handle 8 shows a week) on July 17th. I don't have the funds for three trips but would definitely see again if the chance occurs.
• Vulture what would Sex and the City plotlines be like if the show were still on. Vulture asks members of the original writing team
• THR With other companies pursuin g him Warner Bros reups with prolific TV producer Greg Berlanti for $400 million. In cash no less!
• The Daily Beast...
• Vulture what would Sex and the City plotlines be like if the show were still on. Vulture asks members of the original writing team
• THR With other companies pursuin g him Warner Bros reups with prolific TV producer Greg Berlanti for $400 million. In cash no less!
• The Daily Beast...
- 6/10/2018
- by NATHANIEL R
- FilmExperience
Presenting the Supporting Actresses of '63. Well well, what have we here? This year's statistical uniqueness (the only time one film ever produced three supporting actress nominees) and the character lineup reads juicier than it actually is - your Fab Five are, get this: a saucy wench, a pious auntie, a disgraced lady, a pillpopping royal, and a stubborn nun.
The Nominees
from left to right: Cilento, Evans, Redman, Rutherford, Skalia
In 1963 Oscar voters went for an all-first-timers nominee list in Supporting Actress. The eldest contenders would soon become Dames (Margaret Rutherford and Edith Evans were both OBEs at the time). Rutherford, the eventual winner, was the only nominee with an extensive film history and she was in the middle of a hot streak with her signature role as Jane Marple which ran across multiple films from through 1961-1965. In fact, Agatha Christie had just dedicated her new book "The...
The Nominees
from left to right: Cilento, Evans, Redman, Rutherford, Skalia
In 1963 Oscar voters went for an all-first-timers nominee list in Supporting Actress. The eldest contenders would soon become Dames (Margaret Rutherford and Edith Evans were both OBEs at the time). Rutherford, the eventual winner, was the only nominee with an extensive film history and she was in the middle of a hot streak with her signature role as Jane Marple which ran across multiple films from through 1961-1965. In fact, Agatha Christie had just dedicated her new book "The...
- 8/14/2017
- by NATHANIEL R
- FilmExperience
The Supporting Actress Smackdown of '63 is just 3 days away. So it's time to get your votes in on the nominees that year. Readers, collectively, are the final panelist, so grade the nominees (only the ones you've seen) from 1 to 5 hearts. Your votes count toward the smackdown win!
Diane Cilento Tom Jones Edith Evans Tom Jones Joyce Redman Tom Jones
Margaret Rutherford The VIPs
Lilia Skala Lilies of the Field
Now that we're finally getting to this long delayed Smackdown. It's time to meet this month's talking heads...
The Panel
Seán McGovern and Brian Mullin
An Irishman and an American based in London, Seán McGovern and Brian Mullin are the hosts of Broad Appeal, the podcast that looks back at female-driven films from the not-so-distant past. Seán is a film festival programmer with Fringe! Queer Film & Arts Fest and has also worked for the BFI and the National Film and Television School.
Diane Cilento Tom Jones Edith Evans Tom Jones Joyce Redman Tom Jones
Margaret Rutherford The VIPs
Lilia Skala Lilies of the Field
Now that we're finally getting to this long delayed Smackdown. It's time to meet this month's talking heads...
The Panel
Seán McGovern and Brian Mullin
An Irishman and an American based in London, Seán McGovern and Brian Mullin are the hosts of Broad Appeal, the podcast that looks back at female-driven films from the not-so-distant past. Seán is a film festival programmer with Fringe! Queer Film & Arts Fest and has also worked for the BFI and the National Film and Television School.
- 8/11/2017
- by NATHANIEL R
- FilmExperience
A conversation between Lynn Lee and Kieran Scarlett. At the end of Part 1 of the discussion, Lynn left us to wonder just how long "Westworld" can keep this story going. We pick up where we left off.
Warning: Spoilers Ahead
Kieran: That’s an excellent point about Marsden and Wood’s performances that I hadn’t considered. I did think Wood was much more compelling in the second episode than she was in the pilot. I found myself adjusting to the tonal rhythms of her performance, which are quite specific. I appreciate that there isn’t a rigid uniformity to how the actors portray AIs. Each has their own texture and we’re not just watching actors play mindless automatons, which would have been so boring. That we get insight into their creators and programmers based on how each AI behaves is also an intriguing facet to the performances that...
Warning: Spoilers Ahead
Kieran: That’s an excellent point about Marsden and Wood’s performances that I hadn’t considered. I did think Wood was much more compelling in the second episode than she was in the pilot. I found myself adjusting to the tonal rhythms of her performance, which are quite specific. I appreciate that there isn’t a rigid uniformity to how the actors portray AIs. Each has their own texture and we’re not just watching actors play mindless automatons, which would have been so boring. That we get insight into their creators and programmers based on how each AI behaves is also an intriguing facet to the performances that...
- 10/16/2016
- by Kieran Scarlett
- FilmExperience
This week, Team Experience members Lynn Lee and Kieran Scarlett have tackled the first two episodes of new HBO sci-fi drama, "Westworld," which has captured the interest, fascination (or ire, depending on who you talk to) of audiences. Here's Part 1 of the 2 part discussion...
Warning: Spoilers Ahead
Kieran: Watching the “Westworld” pilot and then the second episode, my immediate reaction—even in thinking that the pilot was relatively strong and an intriguing opening statement to the show—was that these two episodes should be reversed. I might even go so far as to say that the pilot, with all of its beautifully creepy, world-establishing glory (more on this later) is missable when held up against the power (both narratively and stylistically) of the second episode...
Warning: Spoilers Ahead
Kieran: Watching the “Westworld” pilot and then the second episode, my immediate reaction—even in thinking that the pilot was relatively strong and an intriguing opening statement to the show—was that these two episodes should be reversed. I might even go so far as to say that the pilot, with all of its beautifully creepy, world-establishing glory (more on this later) is missable when held up against the power (both narratively and stylistically) of the second episode...
- 10/15/2016
- by Kieran Scarlett
- FilmExperience
by Kieran Scarlett
It’s an incredibly exciting thing to watch the emergence of new on-screen talent whose charisma and star quality cannot be denied. It’s difficult to describe clearly, but it’s clear to a watchful viewer when it happens. Such is the case with Issa Rae, star and co-creator of the new HBO comedy “Insecure” set to debut next month (the pilot episode is already available online via HBO Now). The series, which is co-created by Larry Wilmore (formerly of “The Daily Show”) announces Rae as a force to be reckoned with, both in front of and behind the camera.
The show is, in some ways, an extension of Rae’s 2011 web series “The Mis-Adventures of Awkward Black Girl”...
It’s an incredibly exciting thing to watch the emergence of new on-screen talent whose charisma and star quality cannot be denied. It’s difficult to describe clearly, but it’s clear to a watchful viewer when it happens. Such is the case with Issa Rae, star and co-creator of the new HBO comedy “Insecure” set to debut next month (the pilot episode is already available online via HBO Now). The series, which is co-created by Larry Wilmore (formerly of “The Daily Show”) announces Rae as a force to be reckoned with, both in front of and behind the camera.
The show is, in some ways, an extension of Rae’s 2011 web series “The Mis-Adventures of Awkward Black Girl”...
- 9/29/2016
- by Kieran Scarlett
- FilmExperience
by Kieran Scarlett
It was recently announced that Netflix has ordered ten episodes of a TV series adaptation of Spike Lee’s 1986 debut feature film She’s Gotta Have It. Lee will direct all ten episodes. The age of prestige television truly allows for more fluid movement (at least behind the camera) from film to TV and back again. Spike Lee’s last few features (despite good notices for Chi-raq) have had trouble catching fire outside of the arthouse the way his earlier work has, for this reason or that. He’s certainly a polarizing figure and resistance to his work is built in to certain audiences.
Tracy Camilla Johns and Spike Lee in She's Gotta Have It (1986)
Have you seen She’s Gotta Have It? It’s a very fascinating piece, both on its own and in the larger context of Lee’s filmography. There’s a beautifully bare-bones...
It was recently announced that Netflix has ordered ten episodes of a TV series adaptation of Spike Lee’s 1986 debut feature film She’s Gotta Have It. Lee will direct all ten episodes. The age of prestige television truly allows for more fluid movement (at least behind the camera) from film to TV and back again. Spike Lee’s last few features (despite good notices for Chi-raq) have had trouble catching fire outside of the arthouse the way his earlier work has, for this reason or that. He’s certainly a polarizing figure and resistance to his work is built in to certain audiences.
Tracy Camilla Johns and Spike Lee in She's Gotta Have It (1986)
Have you seen She’s Gotta Have It? It’s a very fascinating piece, both on its own and in the larger context of Lee’s filmography. There’s a beautifully bare-bones...
- 9/17/2016
- by Kieran Scarlett
- FilmExperience
by Kieran Scarlett
The televised family drama, free of a truly high concept seem to be dying. The party line would be that watching the inner workings of a family unit—the relational politics and generational issues therein—devoid of something else for the show to be “about” don’t’ capture audiences as easily as those same stories with the overlaid veneer of meth production, mafia ties or a shady family-owned record company. Over the past decade or so we’ve had several shows that have nakedly been about the dynamics of adult siblings in a family unit and very little else, “Brothers and Sisters” and “Parenthood” being two notable examples. Going back even further, even a show like “Six Feet Under” which had the high-concept premise of a family-owned funeral parlor wasn’t explicitly about that as much as it was the lives of the three siblings and the matriarch.
The televised family drama, free of a truly high concept seem to be dying. The party line would be that watching the inner workings of a family unit—the relational politics and generational issues therein—devoid of something else for the show to be “about” don’t’ capture audiences as easily as those same stories with the overlaid veneer of meth production, mafia ties or a shady family-owned record company. Over the past decade or so we’ve had several shows that have nakedly been about the dynamics of adult siblings in a family unit and very little else, “Brothers and Sisters” and “Parenthood” being two notable examples. Going back even further, even a show like “Six Feet Under” which had the high-concept premise of a family-owned funeral parlor wasn’t explicitly about that as much as it was the lives of the three siblings and the matriarch.
- 9/16/2016
- by Kieran Scarlett
- FilmExperience
by Kieran Scarlett
The city of Atlanta, for as richly vibrant and complicated as it is, for how many different television shows and movies are shot there has surprisingly never been rendered on screen in a wholly honest way. It could be the zombie apocalypse laden landscape of “The Walking Dead,” where the embellishments are forgiven given the subject matter. Then there’s the curiously all-white fantasy in Mother’s Day, a movie that hardly needed to take place in Atlanta making it all the more galling. And of course there’s the glossy, sitcom nightmare-scape version of Atlanta as told by Tyler Perry, where the villains are dark-skinned businessmen and the heroes are light-skinned blue collars with rippling muscles and bad lace-front cornrow wigs.
It’s a much more complicated city, a blue dot in a red state. It's also one of the blackest cities in America (Rip Garry...
The city of Atlanta, for as richly vibrant and complicated as it is, for how many different television shows and movies are shot there has surprisingly never been rendered on screen in a wholly honest way. It could be the zombie apocalypse laden landscape of “The Walking Dead,” where the embellishments are forgiven given the subject matter. Then there’s the curiously all-white fantasy in Mother’s Day, a movie that hardly needed to take place in Atlanta making it all the more galling. And of course there’s the glossy, sitcom nightmare-scape version of Atlanta as told by Tyler Perry, where the villains are dark-skinned businessmen and the heroes are light-skinned blue collars with rippling muscles and bad lace-front cornrow wigs.
It’s a much more complicated city, a blue dot in a red state. It's also one of the blackest cities in America (Rip Garry...
- 9/9/2016
- by Kieran Scarlett
- FilmExperience
by Kieran Scarlett
You may have read earlier this week Jared Leto’s claims that he was “tricked" into doing Suicide Squad. These claims of course came in the wake of the film’s poor critical reception and steep box office drop off after its opening weekend. In a nutshell, Leto alleges that he initially believed the film would be much a much more artistic outing than what was on the screen and he feels duped. Now, we could certainly sit here and speculate how (with whole plot details and often times entire scripts being leaked online to the lay public prior to a film’s release) the arguable star of a major motion picture could ever be tricked into thinking the film was X when it’s really Y. But rather than unpacking that dubious version of events and the spinning and "taken out of context" responses there’s...
You may have read earlier this week Jared Leto’s claims that he was “tricked" into doing Suicide Squad. These claims of course came in the wake of the film’s poor critical reception and steep box office drop off after its opening weekend. In a nutshell, Leto alleges that he initially believed the film would be much a much more artistic outing than what was on the screen and he feels duped. Now, we could certainly sit here and speculate how (with whole plot details and often times entire scripts being leaked online to the lay public prior to a film’s release) the arguable star of a major motion picture could ever be tricked into thinking the film was X when it’s really Y. But rather than unpacking that dubious version of events and the spinning and "taken out of context" responses there’s...
- 8/20/2016
- by Kieran Scarlett
- FilmExperience
In Great Moments in Gay, Team Tfe looks at our favorite queer scenes in the movies for Pride Month. Here's Kieran Scarlett on Pariah (2011)
Writing this piece this week, in the wake of tragedy is especially difficult. Thinking about all of the incredible, vital voices that make up Team Experience, as well as the readers who this blog touches on a daily basis, it's impossible not to think that a great number of us could have been (and have been) in places just like that Orlando night club. Safe spaces for marginalized people—queer people in this instance—are sacred, rare and often self-forged. This is especially true of safe spaces for queer people of color, who face an even greater burden of those added identity politics. Now more than ever, it is important to recognize that being queer and open remains a revolutionary act. It's a sad truth to...
Writing this piece this week, in the wake of tragedy is especially difficult. Thinking about all of the incredible, vital voices that make up Team Experience, as well as the readers who this blog touches on a daily basis, it's impossible not to think that a great number of us could have been (and have been) in places just like that Orlando night club. Safe spaces for marginalized people—queer people in this instance—are sacred, rare and often self-forged. This is especially true of safe spaces for queer people of color, who face an even greater burden of those added identity politics. Now more than ever, it is important to recognize that being queer and open remains a revolutionary act. It's a sad truth to...
- 6/17/2016
- by Kieran Scarlett
- FilmExperience
In Great Moments in Gay, Team Tfe looks at our favorite queer scenes in the movies for Pride Month. Here's Kieran Scarlett on Bring it On (2000)
Peyton Reed's Bring it On is one of the best high school movies of all time. It's best to get that out of the way first in any writing about the 2000 flick about the politics of high school cheerleading. It's often dismissed, forgotten or written off as a trifle, which couldn't be further from the truth. It so stylishly inhabits its own cinematic universe and does such an excellent job of world building--something that's often missing in a lot of high school movies where the environment can sometimes feel generic or a retread of superior movies. Its first scene brilliantly employs a Greek chorus-style device set to a cheer routine to introduce the world and its characters. And it manages to do so...
Peyton Reed's Bring it On is one of the best high school movies of all time. It's best to get that out of the way first in any writing about the 2000 flick about the politics of high school cheerleading. It's often dismissed, forgotten or written off as a trifle, which couldn't be further from the truth. It so stylishly inhabits its own cinematic universe and does such an excellent job of world building--something that's often missing in a lot of high school movies where the environment can sometimes feel generic or a retread of superior movies. Its first scene brilliantly employs a Greek chorus-style device set to a cheer routine to introduce the world and its characters. And it manages to do so...
- 6/2/2016
- by Kieran Scarlett
- FilmExperience
In April Showers, Team Tfe looks at our favorite waterlogged moments in the movies. Here's Kieran Scarlett on Carrie (1976).
Brian de Palma’s horror classic Carrie has scenes at both the beginning and the end in which our heroine, Carrie White (Sissy Spacek) gets clean. Because of what happens between those scenes, they take on very different meanings. When we first see Carrie White, she is diffident and beleaguered—whether at home with her mother Margaret’s (Piper Laurie) stentorian declarations of fanatical Christian values or at school with the focused torment of her peers. It’s very clear that Carrie has internalized the harsh words of Chris Hargensen (Nancy Allen):...
Brian de Palma’s horror classic Carrie has scenes at both the beginning and the end in which our heroine, Carrie White (Sissy Spacek) gets clean. Because of what happens between those scenes, they take on very different meanings. When we first see Carrie White, she is diffident and beleaguered—whether at home with her mother Margaret’s (Piper Laurie) stentorian declarations of fanatical Christian values or at school with the focused torment of her peers. It’s very clear that Carrie has internalized the harsh words of Chris Hargensen (Nancy Allen):...
- 4/29/2016
- by Kieran Scarlett
- FilmExperience
In April Showers, Team Tfe looks at our favorite waterlogged moments in the movies. Here's Kieran Scarlett on Blue Valentine (2010).
What are you doing?
-What does it look like I'm doing?
Getting all wet and naked.
A shower scene between two clearly beautiful lovers (even with the aging makeup) has rarely felt less erotic and more heartbreaking. This exchange manages to perfectly illustrate the tragic state of Dean (Ryan Gosling) and Cindy’s (Michelle Williams) relationship in Derek Cianfrance’s modern masterpiece, Blue Valentine. Dean is still obliviously playful, too willing to overlook the realities of his disintegrating marriage in favor of ham-handedly ginning up passion and romance. Cindy feels trapped and hopeless, unable to seek refuge from her husband’s obtuse adulation even in the shower. Her voice drips with the weary impatience often heard in response to a child’s incessant questioning, which frankly is not too dissimilar...
What are you doing?
-What does it look like I'm doing?
Getting all wet and naked.
A shower scene between two clearly beautiful lovers (even with the aging makeup) has rarely felt less erotic and more heartbreaking. This exchange manages to perfectly illustrate the tragic state of Dean (Ryan Gosling) and Cindy’s (Michelle Williams) relationship in Derek Cianfrance’s modern masterpiece, Blue Valentine. Dean is still obliviously playful, too willing to overlook the realities of his disintegrating marriage in favor of ham-handedly ginning up passion and romance. Cindy feels trapped and hopeless, unable to seek refuge from her husband’s obtuse adulation even in the shower. Her voice drips with the weary impatience often heard in response to a child’s incessant questioning, which frankly is not too dissimilar...
- 4/8/2016
- by Kieran Scarlett
- FilmExperience
I haven’t counted the “Predict the Oscars Wrong” contest but here are our four winners — they kicked the pundits’ butt (Pete Hammond was the high scorer with 19) with a...
- 3/1/2011
- by Sasha Stone
- AwardsDaily.com
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