Beannachtaí na Féile Pádraig!

americanpie2
My sister Jean and me, in Dublin, the night the fuse blew at the disco, and all the lights went out, and all of the disco patrons had to stand out on the street while Irish firemen and garda ran about in all their hot-ness.

americanpie11
Siobhan, Jean, Me, in Dublin, same night. Here we are by the firetruck in the street, with our new best friend who had fallen in love with Jean about 10 minutes before, and was ready to beat people up on her behalf within 2 seconds of meeting her. And look at the random arms sticking up behind us. I have no idea who that is.

Now onto Elvis. Who never stepped foot in Ireland.

Or … did he??

I present to you an alternate-history story entitled: The Night Elvis Sang at the Theatre Royal in Dublin, by Éanna Brophy, a retired journalist from Dublin. I so thank Mr. Brophy for sending it to me to post on my site. I wish it were true! If it DID happen, you know that Elvis would indeed keep sending postcards throughout his life signed “Seamus”. Thank you, Mr. Brophy!

And, finally, for today, Elvis sings “Danny Boy”, a song he loved for years.

He eventually recorded the song for real in the Jungle Room in 1976 when things were not going well. The recorded version is slowed down, way down, and is beautiful (it’s a tough song to sing, daunting high notes launching out of nowhere) but I prefer the home recording of Elvis singing the song in 1959, while he was stationed in Germany.

His guitar playing is energetic and adorable, his voice is young, free, untrammeled, and passionate.

The song is important to me, and I feel so lucky that Elvis recorded it.

Happy St. Patrick’s Day. And don’t be a douchebag out there.

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The Night Elvis Sang at the Theatre Royal in Dublin


March 3, 1960, Prestwick Airport, Scotland. Elvis Presley signing autographs. The plane had stopped to refuel on its way back to the United States. This was the only time Elvis set foot on the British Isles.

Éanna Brophy, a retired journalist from Dublin, sent me the following “piece of whimsy” he wrote: starting with a note that the story to follow was found in a copybook at a building site. In the story, we hear a tale of Elvis Presley performing in Dublin, while stationed overseas. (It’s common knowledge that Elvis Presley never performed in Europe, but Brophy imagines a night when he … did.)

Except for his time in the Army, and one or two gigs in Canada in 1957, Elvis never left the United States. He always wanted to go tour Europe and Japan. He never got to.

Brophy’s piece imagines a different scenario entirely and I am so pleased to share it here. It’s a bit of magic you’ve created, Mr. Brophy.

The Night Elvis Sang at the Theatre Royal in Dublin

The intriguing tale below was found in a builder’s skip outside an old house undergoing renovations in Dublin, Ireland. It was handwritten in pencil in a battered old school copybook. Can it possibly be true? Elvis Presley, we’re told, never performed in public outside of the American continent …

Or did he?

This is going to come as a shock to the wife. It’s something I haven’t been able to tell her in all the years we’ve been married. I hope she won’t be too cross with me. It will surprise a lot of other people too, but I suppose it’s all right to talk about it now that poor Jack – that’s the brother-in-law – has passed on to his reward. He always made me keep quiet about it. I had to swear not to tell anybody, because he was afraid it might call attention to himself even years and years after that peculiar night. The night I proposed to the wife – and Elvis Presley sang in the Theatre Royal.

Fit for a king the old Royal was; gone a long time now, like the King himself, sure God be good to him.

I always used to tell Jack no-one would believe it happened, but he never stopped worrying that the American army would come lookin’ for him for being a deserter. Which he wasn’t of course. He just kind-of forgot to go back.

Jack lived on the same road as me in Cabra West. A working class area they called it, although most of the people were unemployed. Either that or the kids’ da’s were gone to look for jobs in England. Jack was the same age as me, a bit of a harum-scarum me mother always called him. When he couldn’t get a regular job as a mechanic in Dublin he emigrated to America. He wasn’t long over there before he signed up with the army, and in next to no time didn’t he find himself being sent back across the Atlantic – to be stationed with the American Forces in Germany, lookin’ after their transport. And that’s how he met Elvis, who was after being sent there, too, by the army.

Elvis was very shy behind it all, Jack told me. He just wanted a quiet life most of the time, away from the mobs of fans that always followed him everywhere he went. He never got a minute’s peace from them. It was the same even in Germany. Whenever he got leave from the army, he couldn’t step outside the barracks for fear of being chased by a gang of frauleins wanting to tear his clothes off. Or to pull his hair, what little he had left after the army barbers giving him the bowl cut.

And that’s how he came to stay with Jack’s family in Cabra West. Twice, I think it was. Himself and Jack had army leave at the same time, and Jack invited him to come home with him, promising him that nobody would bother him in Ireland. Hardly anyone here would recognise him anyway, he told him, especially since he got all the hair chopped off. Once he’d gone into the army, he more or less vanished. There was no new pictures of him in magazines, and there was no television like nowadays. People still thought of Elvis with the long sideburns and the greasy hair-oil.

Elvis wasn’t sure at first about coming over. He didn’t even know exactly where Ireland was, but he decided he might as well chance it; anything was better than hanging around the barracks all day. Jack never told the family it was Elvis. His ma and da were old anyway – nearly fifty, God bless the mark! So as far as they were concerned he was just another one of Jack’s Yankee pals, not the first one he’d brought home. And with better manners than some of them, his ma said.

I was doing a strong line with Mary at the time. Jack’s little sister: that’s what he called her even though there was only a few years between them. She was, of all things, a Cliff Richard fan. I thought he was brutal (apart from being English), but she had pictures of Cliff all over her bedroom and wasn’t interested in Elvis at all. It was only years later that she came to appreciate him – when he was well past his best, I always said. So she hardly looked twice at this soldier with the crew cut that was sharing Jack’s bedroom.

I was the only one to recognise him. Even though he wore tinted glasses, I knew it was him, because I had every one of his records and I’d seen all his films. Some of them twice or three times, especially Jailhouse Rock. Jack tried at first to persuade me it wasn’t him. He said his name was Hank Something, but that just made me laugh, until he finally gave up and admitted it. But himself and Elvis made me swear on me mother’s grave to keep it secret, so I did. My mother was still alive at the time, but it still counted.

None of the neighbours recognised him either, even when him and Jack played a bit of soccer on the green near the houses. He would’ve made a good goalie for Bohemians, Jack always said.

Elvis always made sure not to wear his own fancy clothes when he went out. So there was no sign of his famous gold lamé suits! No, he’d borrow some of Jack’s clothes; they were roughly the same build, though of course poor ould Elvis got desperate fat later on. One or two of the mammies, mind you, asked Jack who’s the good-lookin’ young fella you have staying with you this time , but none of them would ever have imagined it was Elvis the Pelvis as he used to be called. So even though he’d been a bit nervous about coming to Dublin, he began to enjoy himself. Him and Jack used to go to the pictures in town, and they went to Dalymount and even Croke Park.

And then they went to the Theatre Royal and I went with them. It was still going strong in those days, and you got great value for your half a crown, because they had a stage show and the pictures as well. But we always got in for free because Mary was an usherette and got complimentary tickets. Even if she didn’t get them, she’d let us sneak in anyway. So there we were on the Friday night, me and Jack and Elvis, sitting in the good seats near the front, when the curtains went back for the variety show to start. But there was something wrong. The orchestra was up on stage all right, and the Royalette girls did one of their dances, but then the conductor, a man with a moustache called Jimmy Campbell, turned around and apologised that the show would have to be cut short that night because their vocalist – that’s what they called singers in them days – their vocalist, Mr Frankie Blowers, was indisposed.

Someone started booing, and fellas up in the gods were stamping their feet and shouting we want our money back. That was when Jack had the rush of blood to the head. Didn’t he stand up and roar, “Mr Campbell, Mr Campbell, I have someone here who can sing for you!” And with that, he starts to shove poor Elvis out into the aisle an up onto the stage. He was very embarrassed and mumbled something about not having his guitar. But the orchestra was just after getting its very first electric guitar a few weeks earlier, and someone put it into Elvis’s hands.

That was that; he couldn’t resist the urge, and started strumming it straight away, and even moving his hips a bit. A few girls down the back gave a scream, but Jimmy Campbell said “Hold on a minute, I have to introduce you. What’s your name?” And while Elvis was still mumbling, Jack shouted “Seamus Murphy”.

That’s how he was introduced to the audience, and then he was off and you couldn’t stop him. He sang “Hound Dog”, and “Don’t Be Cruel” and a whole lot of his other songs. When he did “Jailhouse Rock” it nearly brought the house down, but then Mr Campbell had to call a halt because the film had to start on time. I forget what they showed that night; it might have been The Magnificent Seven. All I can remember is the buzz of excitement after he sang. People were still whispering long after the film started and other people were telling them to “shush”.

But when Elvis got back to his seat he was ragin’ with Jack for shoving him up on the stage like that. He was very worried that the Colonel would get to hear about it. Not an army colonel, mind you, but his manager, Colonel Tom Parker. Poor Elvis was afraid he’d probably accuse him of breach of contract or something. Anyway, he borrowed Jack’s woolly hat as a disguise when they were leaving the Royal, but it was lashing rain outside, so if anyone had been still wondering who the singer was, they didn’t hang around getting soaked trying to find out.

Elvis went back to Germany the very next day, a bit sudden, and never came back to Cabra. I think he probably met Priscilla then, so that was that.

Jack didn’t exactly desert from the American army. It was peacetime anyway, so when he met a nice-looking “mot” here in Dublin, he decided to stay here, and he figured sure the Yanks wouldn’t miss him all that much. But it meant that he could never go to America. Even years later, he was still afraid to chance it, although he regularly got cards in the post, inviting him to Las Vegas, or even to visit Graceland. They were always signed Seamus Murphy.

But I nearly forgot to tell you the other important thing about that night. That was when I proposed to Mary, and we got married eight weeks later. But she’s going to be embarrassed now when I tell her who the singer really was. Maybe I won’t tell her at all. I had the ring in my pocket, and after Elvis and Jack left I waited in the foyer to surprise her with it when she came off duty. Although it wasn’t really a surprise: sure she was after giving me a few broad hints that we’d been doing a line for over a year, and stopping and looking at the rings every time we passed McDowells the jewellers in O’Connell Street.

The hints had got very strong lately. In fact she’d nearly started cryin’ a few nights earlier when I said we should maybe wait until we could afford a house of our own. We nearly had a fight about it, but I gave in of course, and next day I sneaked out and bought the ring without telling her. I’d decided to bring her over to the Red Bank restaurant, across the road from the Royal – a very posh place I couldn’t really afford – and ask her to marry me. Which I did, and she said yes straight away. But janey mack, she’ll be raging now when I tell her the truth about Elvis in the Royal, and remind her of what she said. Because before I took out the ring, I asked her what she thought of Jack’s pal’s performance. And do you know what she said? “Brutal!”

I had to bite me tongue. But I married her anyway! And in spite of our musical differences we’ve had a good marriage compared to what you see these days. Sure I don’t know why they bother getting married at all, the way they jump into bed with each other!

Our own kids are all grown up and married now. Two boys and two girls. Good singers, too, by the way – except the first lad, who was born premature seven months after we got married. The funny thing is, I often thought he had a look of Elvis about him.

But he can’t sing a note!

Éanna Brophy
2008

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Tonight: The Core Club: Screening of Something Wild (1961)

I’m honored to moderate a QA session tonight at the Core Club with director Jack Garfein after a screening of his long-forgotten (but not anymore) masterpiece Something Wild, starring Carroll Baker and Ralph Meeker (with Mildred Dunnock in a small but important role). The Criterion Collection released Something Wild in January – a long over-due release – with wonderful special features, including the booklet essay by yours truly (now online). If you haven’t seen the film yet, what are you waiting for?

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“A soothsayer bids you beware the ides of March.”

In the current climate in the United States (which … you honestly have to be here to experience the full effect) … the time is ripe for a soothsayer, whispering into the ears of paranoid men, launching rumors that fly through the air, hoping to hit their mark. Things are pretty damn spooky.

The Ides of March.

death_of_caesar.GIF

Let’s read the scene in Shakespeare’s play where Caesar ignores the warning from the soothsayer. Because wouldn’t we all ignore a warning from a random-crazy-person in the street? I mean, I HAVE ignored such warnings. Some shuffling nut-bag screams at me I’m going to die if I don’t repent? What, I’m gonna ask to hear MORE? No. And neither does Caesar and therein lies his ruin.

(I have to add that it must be hard to listen to anything anyone says when you are constantly bombarded by “flourishes”.)

SCENE II. A public place

Flourish.

Enter CAESAR; ANTONY, CALPURNIA, PORTIA, DECIUS BRUTUS, CICERO, BRUTUS, CASSIUS, and CASCA; a great crowd following, among them a SOOTHSAYER

CAESAR
Calpurnia!

CASCA
Peace, ho! Caesar speaks.

CAESAR
Calpurnia!

CALPURNIA
Here, my lord.

CAESAR
Stand you directly in Antonius’ way,
When he doth run his course. Antonius!

ANTONY
Caesar, my lord?

CAESAR
Forget not, in your speed, Antonius,
To touch Calpurnia; for our elders say,
The barren, touched in this holy chase,
Shake off their sterile curse.

ANTONY
I shall remember:
When Caesar says ‘do this,’ it is perform’d.

CAESAR
Set on; and leave no ceremony out.

Flourish

SOOTHSAYER
Caesar!

CAESAR
Ha! who calls?

CASCA
Bid every noise be still: peace yet again!

CAESAR
Who is it in the press that calls on me?
I hear a tongue, shriller than all the music,
Cry ‘Caesar!’ Speak; Caesar is turn’d to hear.

SOOTHSAYER
Beware the ides of March.

CAESAR
What man is that?

BRUTUS
A soothsayer bids you beware the ides of March.

CAESAR
Set him before me; let me see his face.

CASSIUS
Fellow, come from the throng; look upon Caesar.

CAESAR
What say’st thou to me now? speak once again.

SOOTHSAYER
Beware the ides of March.

CAESAR
He is a dreamer; let us leave him: pass.

A psychic told me some years ago that I would meet my future husband the following year, and that he would be blonde. In general, I don’t go for blondes, but I listened to what she had to say, paid my money, went on my way. Strangely enough, I ended up dating someone that following year who happened to be blonde – I didn’t remember the psychic’s prediction until after it was over. It ended pretty quickly. And weirdly. In fact, I refer to him as Jackass McGee. After that, I thought, “1. That psychic was full of it. and 2. I KNEW I should have stayed away from blondes.” Caesar writing The Soothsayer off is understandable.

I just re-read Julius Caesar, in my ongoing Shakespeare Chronological Reading project last year. The conspiracy scene (Act II, scene 1) is one of my favorites in the play.

The conspirators visit Brutus at his house. They all stand in the orchard, and decide to do the deed on the morrow.

Here’s a fun exercise (this came straight from a classics class I took in grad school): read it out loud and notice how often Shakespeare uses the letter “s” in the scene, or an “s” sound. First of all, all of their names have “s”s in them, so automatically there’s an “s” sound in almost every sentence. When you hear the language (and it only becomes perceivable when you hear it out loud), just the sound of the scene, never mind the words they’re actually saying, it sounds like a bunch of snakes hissing. It SOUNDS like whispered gossip. “Psst.” “Psst.” “Psst. Secrets secrets secrets …” “Whissssper …” “Whisssper” “Psst …” “Psst.”

“S” is a sound that carries. If people whisper over the water cooler about the layoffs coming down, they’re pretty safe in not being overheard if they say vowel sounds: “o” or “e” don’t really carry, but an “S” will ricochet across an office as though there is a megaphone attached to it.

That’s the effect that Shakespeare has achieved in the sounds in this scene. The ACTION of the scene is IN the language itself. Ssssssssss gives an impression of a crowd of men whispering “psst”, the hissing “psst” whisper of conspiracy.

Re-enter LUCIUS.

LUCIUS.
Sir, ’tis your brother Cassius at the
door,
Who doth desire to see you.

BRUTUS.
Is he alone?

LUCIUS.
No, sir, there are more with him.

BRUTUS. Do you know them?

LUCIUS.
No, sir; their hats are pluck’d about
their ears,
And half their faces buried in their cloaks,
That by no means I may discover them
By any mark of favour.

BRUTUS. Let ’em enter.

[Exit LUCIUS.

They are the faction. O conspiracy!
Sham’st thou to show thy dangerous brow by
night,
When evils are most free? O! then by day
Where wilt thou find a cavern dark enough
To mask thy monstrous visage? Seek none, con-
spiracy;
Hide it in smiles and affability:
For if thou path, thy native semblance on,
Not Erebus itself were dim enough
To hide thee from prevention.

Enter the Conspirators, CASSIUS, CASCA,
DECIUS,CINNA, METELLUS CIMBER,
and TREBONIUS.

CASSIUS.
I think we are too bold upon your rest:
Good morrow, Brutus; do we trouble you?

BRUTUS.
I have been up this hour, awake all
night.
Know I these men that come along with you?

CASSIUS.
Yes, every man of them; and no man
here
But honours you; and every one doth wish
You had but that opinion of yourself
Which every noble Roman bears of you.
This is Trebonius.

BRUTUS.
He is welcome hither.

CASSIUS.
This, Decius Brutus.

BRUTUS. He is welcome too.

CASSIUS.
This, Casca; this, Cinna;
And this, Metellus Cimber.

BRUTUS.
They are all welcome.
What watchful cares do interpose themselves
Betwixt your eyes and night?

CASSIUS.
Shall I entreat a word?

[BRUTUS and CASSIUS whisper.

DECIUS.
Here lies the east: doth not the day
break here?

CASCA.
No.

CINNA.
O! pardon, sir, it doth; and yon grey
lines
That fret the clouds are messengers of day.

CASCA.
You shall confess that you are both
deceiv’d.
Here, as I point my sword, the sun arises;
Which is a great way growing on the south,
Weighing the youthful season of the year.
Some two months hence up higher toward the
north
He first presents his fire; and the high east
Stands, as the Capitol, directly here.

BRUTUS.
Give me your hands all over, one by
one.

CASSIUS.
And let us swear our resolution.

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And so, in honor of the Ides of March, here’s the “moment before” the poor ignored SOOTHSAYER comes back into the picture: Act II, scene iv. The sense of foreboding grows. Portia can feel the wrongness in the air.

PORTIA
Come hither, fellow: which way hast thou been?

SOOTHSAYER
At mine own house, good lady.

PORTIA
What is’t o’clock?

SOOTHSAYER
About the ninth hour, lady.

PORTIA
Is Caesar yet gone to the Capitol?

SOOTHSAYER
Madam, not yet: I go to take my stand,
To see him pass on to the Capitol.

PORTIA
Thou hast some suit to Caesar, hast thou not?

SOOTHSAYER
That I have, lady: if it will please Caesar
To be so good to Caesar as to hear me,
I shall beseech him to befriend himself.

PORTIA
Why, know’st thou any harm’s intended towards him?

SOOTHSAYER
None that I know will be, much that I fear may chance.
Good morrow to you. Here the street is narrow:
The throng that follows Caesar at the heels,
Of senators, of praetors, common suitors,
Will crowd a feeble man almost to death:
I’ll get me to a place more void, and there
Speak to great Caesar as he comes along.

Exit

PORTIA
I must go in. Ay me, how weak a thing
The heart of woman is! O Brutus,
The heavens speed thee in thine enterprise!
Sure, the boy heard me: Brutus hath a suit
That Caesar will not grant. O, I grow faint.
Run, Lucius, and commend me to my lord;
Say I am merry: come to me again,
And bring me word what he doth say to thee.

Vincenzo Camuccini, "Morte di Cesare", 1798,

Posted in On This Day | Tagged , , | 10 Comments

Feud: Bette and Joan: Episode 2 re-cap for The NY Times

My re-cap for Episode 2 of Feud is now up at the NY Times.

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Review: This Beautiful Fantastic (2017)

This is the type of movie where fans of the movie get really REALLY mad when a critic doesn’t like it. Oh well.

My review of This Beautiful Fantastic is now up at Rogerebert.com.

Posted in Movies | Tagged , | 8 Comments

The Handmaid’s Tale Trailer

This looks fantastic. The visuals alone gave me goosebumps. Very glad that this is happening. Looking forward to seeing it.

Posted in Television | 2 Comments

Feud: Bette and Joan: Episode 1 re-cap for The New York Times

I’m so happy to be making my debut in The New York Times with re-caps for Feud, the new FX series created by Ryan Murphy, about the legendary feud between Bette Davis and Joan Crawford. There’s so much to discuss that it’s rather overwhelming, and it’s going to be a lot of fun examining all of the different elements that the series brings up. It’s a Master Class in Bette/Joan lore.

My re-cap for Episode 1 of Feud is now up at the New York Times.

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James Baldwin on Bette Davis

From James Baldwin’s The Devil Finds Work, an indispensable work of not only film criticism but cultural commentary and observation.

Here is Baldwin on the impact seeing Bette Davis on the screen for the first time made on him as a child. A white schoolteacher (female, although everyone called her “Bill”) befriended young James and introduced him to cinema, theatre, and literature. She took him to see a Bette Davis movie, I believe it was 20,000 Years in Sing Sing with Spencer Tracy.

My father said, during all the years I lived with him, that I was the ugliest boy he had ever seen, and I had absolutely no reason to doubt him. But it was not my father’s hatred of my frog-eyes which hurt me, this hatred proving, in time, to be rather more resounding than real: I have my mother’s eyes. When my father called me ugly, he was not attacking me so much as he was attacking my mother. (No doubt, he was also attacking my real, and unknown, father.) And I loved my mother. I knew that she loved me, and I sensed that she was paying an enormous price for me. I was a boy, and so I didn’t really too much care that my father thought me hideous. (So I said to myself – this judgment, nevertheless, was to have a decidedly terrifying effect on my life.) But I thought that he must have been stricken blind (or was as mysteriously wicked as white people, a paralyzing thought) if he was unable to see that my mother was absolutely beyond any question the most beautiful woman in the world.

So, here, now, was Bette Davis, on that Saturday afternoon, in close-up, over a champagne glass, pop-eyes popping. I was astounded. I had caught my father, not in a lie, but in an infirmity. For, here, before me, after all, was a movie star: white: and if she was white and a movie star, she was rich: and she was ugly. I felt exactly the same way I felt, just before this moment, or just after, when I was in the street, playing, and I saw an old, very black, and very drunk woman stumbling up the sidewalk, and I ran upstairs to make my mother come to the window and see what I had found: You see? You see? She’s uglier than you, Mama! She’s uglier than me! Out of bewilderment, out of loyalty to my mother, probably, and also because I sensed something menacing and unhealthy (for me, certainly) in the face on the screen, I gave Davis’s skin the dead-white greenish cast of something crawling from under a rock, but I was held, just the same, by the tense intelligence of the forehead, the disaster of the lips: and when she moved, she moved just like a nigger. Eventually, from a hospital bed, she murders someone, and [Spencer] Tracy takes the weight, to Sing Sing. In his arms, Davis cries and cries, and the movie ends. “What’s going to happen to her now?” I asked Bill Miller. “We don’t know,” said Bill, conveying to me, nevertheless, that she would probably never get over it, that people pay for what they do.

I had not yet heard Bessie Smith’s “why they call this place the Sing Sing?/Come stand here by this rock pile, and listen to these hammers ring,” and it would be seven years before I would begin working on the railroad. It was to take a longer time than that before I would cry; a longer time than that before I would cry in anyone’s arms; and a long long long long time before I would begin to realize what I myself was doing with my enormous eyes – or vice versa. This had nothing to do with Davis, the actress, or with all those hang-ups I didn’t yet know I had: I had discovered that my infirmity might not be my doom; my infirmity, or infirmities, might be forged into weapons.

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The Muriel Awards 2016: My Entry on Isabelle Huppert in Elle

Every year, the Muriel Awards – an alternate and online award – chooses folks to vote on the best of the year in film. Each voter fills in an extensive ballot. Ballots are tallied. It’s always a wonderful and somewhat quirky alternative to the usual fare of regular awards seasons, where it always works out that the same damn things get nominated in the same damn categories.

I was really happy to participate this year. It’s also great to read the entries from other voters, many of whom are friends of mine.

You can scroll through all the different entries here.

I wrote the entry on the Best Actress winner: the great Isabelle Huppert in Paul Verhoeven’s Elle, one of my favorite performances of the year, period.

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