February 2023 Viewing Diary

Reboot (2022)
Allison and I watched it together when I was in New York for the first half of this month. I adore this series and am so bummed it wasn’t picked up for Season 2. We had a blast watching it. Johnny Knoxville! lol

Pour Une Nuit d’Amour (1947; d. Edmond T. Gréville)
Dan had a copy of this barely-screened hard-to-find film, so he and Keith hosted a small gathering – me, Imogen and Farran – so we could watch. We’ve done this a couple of times before and it’s now a little bit of a familiar ritual. Keith cooks dinner – he’s an amazing cook, multi-course meals, always delicious. He spent the first year of the pandemic making his way through various French cookbooks. We sit around and talk for 5, 6 hours. These are good friends. We watched the movie first. Blinds drawn. Everyone settling in. The room dark in the middle of the afternoon. This film is a HOOT. There were twists I never expected. Incredible acting and masterful visuals. There are nuns and peasants and a murder, plus a woman who seems to be one way and then reveals herself (understatement of the century) to be an entirely other way. We were all delighted and riveted by it. Getting together with friends …. having been deprived of it for two years, there’s still a novelty aspect to it, and it warms my heart and soul. Great Brooklyn day.

After Hours (1986; d. Martin Scorsese)
Allison and I watched this and had an absolute blast.

Dear Edward (2023; created by Jason Katims)
Allison and I watched this. We were so drawn in by the first episode. (And it’s a killer cast.) The next episodes verged on the corny. We both felt it. The premise is really cool though.

There’s Always Tomorrow (1955; d. Douglas Sirk)
I had never seen this before and I REALLY love it. A reunion, of sorts, of Barbara Stanwyck and Fred MacMurray, only this time instead of an ice-hot noir (Double Indemnity), they’re in a middle-aged romantic melodrama. Or maybe just a drama. I wrote a little about it here.

Seriously Red (2023; d. Gracie Otto)
I really liked this Australian film about an awkward slightly lost woman who stumbles into the world of celebrity imitators on the sheer power of her love for Dolly Parton. Rose Byrne plays an Elvis imitator. I reviewed for Ebert.

Phantom Lady (1944; d. Robert Siodmak)
Absolutely adore this noir. Siodmak pulls out the stops and so does his cast. Ella Raines – who comes across as so modern, so natural – is determined to clear her boss’ name. He’s been imprisoned for murdering his wife, and faces the electric chair. So begins her descent into a frightening shadowy underworld, where she has to go undercover – as a prostitute, at one point – in order to insinuate herself closer to those who may be responsible. She is searching for a so-called “phantom lady”, a woman her boss “picked up” on the night of the murder. This woman – who wore a massive feathered hat, unmistakable – would be her boss’ alibi. If only this woman could be found. There’s an incredibly sexual disturbing scene involving an after-hours jazz-band jam, where Elisha Cook Jr. is whipped into a frenzy by his own drumming. And Franchot Tone plays a famous sculptor, who presents as a friend, although …. Is he? Tone’s careful physical work is extraordinary: his hands are the most important thing in every scene. Watch his hands. This was Siodmak’s first Hollywood production, produced by Joan Harrison – a woman, as you will notice – a pioneer.

Stolen Youth: Inside the Cult at Sarah Lawrence (2023; d. Zach Heinzerling)
This story is so crazy. I remember following it when it first broke, and I was drawn to it, even more so than the whole NXIVM story, although I was sucked into that one as well. This one was even more confusing and disorienting. At LEAST NXIVM presented as an actual legitimate business. You can understand more readily why people would get sucked in. But THIS story … it exists in the margins, in the peripheral areas, the in-betweens, where idealistic young people – who, it must be said, appear to have grown up in an environment of enforced helplessness. The series does address that. It was “cool” and “the thing” to present as broken and wounded and “this is who I am” – I suppose you could call it “emo”. I noticed this new “trend” (which was probably always present, but we just didn’t have the internet to amplify it) once I started trolling around on Tumblr looking for Supernatural fanfic. As you do. I noticed it in the bios on all these Tumblr pages, where people led with their diagnoses. You don’t know what these people are studying in school, what they do for a living, anything, but you know they suffer from anxiety and depression and OCD and everything else. This is new. To “fit in”, you better have a host of psychological problems. I understand why this has happened – a necessary corrective to the feeling that these things are shameful or you don’t talk about them. I get it. But … such necessary correctives often have unintended consequences, and this Sarah Lawrence situation shows one of the potential ways this kind of thing leaves people very vulnerable. None of this is meant as a criticism. Nobody should have to pay the price these kids paid. This is a VERY upsetting watch. I thought it was very well done and I applaud everyone for agreeing to be interviewed about what was an extremely traumatic situation which stole years from their lives, and impacted them forever. I applaud their courage. I applaud the work they are doing right now to heal, to put themselves back together. I wish all of them well. They did not deserve ANY of this. This man infuriates me. Even the sound of his voice makes me want to wreck a room with my bare hands. I am so glad they put this predator away.

Once Upon a Time in Hollywood (2019; d. Quentin Tarantino)
No signs of getting sick of it yet. It’s wild to see Austin Butler here. Get ready, kid. Shit’s about to explode for you.

Baby It’s You (1983; d. John Sayles)
Same year as Valley Girl. Such an interesting era for “quirky” teen movies, directed by masters of the craft. Baby It’s You is almost a curio: Vincent Spano, ladies and gentlemen! He’s so excellent. What an interesting character. And Rosanna Arquette dominates: her intelligence, her emotions, her sense of stepping outside her comfort zone … it’s quite a complex character and the journey she goes on is the journey of growing up. Normally I hate the saying “People come into your life for a season, a reason, or a lifetime” but I have to admit there’s some truth to it. Happiness depends on you recognizing which one applies to each. Don’t mistake a reason for a season! I was convinced my 74 Facts man was “a lifetime” but he was “a season”. I thought Window-Boy was just “a season” (11 years is a season, Sheila?) but he was actually “a reason”. And I thought Michael was “a season” but he’s “a lifetime”, even though we’re not married or anything. I’m just talking lifelong friends. Forever friend. So. I got it ALL WRONG with the Triumvirate. I think a lot of us do! It’s what falling in love is all about, especially when you’re young. I love the distinct-ness of this, the environment, the dialogue, the cars, the environment: it’s all very much ITSELF. And Vincent Spano!! I love that character.

All I Desire (1953; d. Douglas Sirk)
Sort of Stella-Dallas-the-1950s-version. Barbara Stanwyck plays a woman with a tired vaudeville act. She never made it big. But she kept at it. Long ago, she abandoned her husband and three children – !!! – to pursue the career. Shadings of complexity are added as the film goes on: She was also unfaithful to her husband, and the scandal of it also was a factor in her skipping town. 15 years have passed and suddenly she gets a letter from her teenage daughter, who is about to appear in her high school play, and she wants her mother to see that she’s doing well and following in her footsteps. (Stanwyck has lied in the few letters she’s sent back home. She reports she’s doing well and packing theatre halls in Europe.) So she decides to return to the little conventional New England-y type town she left. Her return causes eruptions of emotions and scandal, long-buried hostilities/love exploding to the surface. Her oldest daughter took on the mom role, and runs the household. She has no nostalgia for the woman who left them. Teenage daughter is awe-struck, idolizes her mother. The young son has no memory of his mother at all. It’s a very touching film and gorgeously shot.

Emily (2023; d. Frances O’Connor)
I absolutely loved this film about Emily Bronte. I reviewed for Ebert.

While the Patient Slept (1935; d. ray enright)
A murder-mystery along the Agatha Christie vein, the Gosford Park vein: there’s a big mansion filled with family members, someone is murdered, they are all suspects. It’s fun.

Five Star Final (1931; d. Mervyn LeRoy)
I had never seen this before and I really loved it. It’s a newspaper movie: an indictment of tabloid sensationalistic journalism – such a harsh film that William Randolph Hearst was offended by it. Listen, man, if the shoe fits … An ambitious editor (Edward G. Robinson) realizes his newspaper is falling behind the other papers, and decides to change their tactics, becoming increasingly unscrupulous, basically harassing this one poor family by dredging up the past of one of its members. This has tragic consequences. (There are a lot of connections to the power of the internet and what is happening right now: where someone’s pictures in a high school yearbook can be dredged up and derail a career.) The paper resorts to trickery, sending someone (Boris Karloff) off in a disguise in order to infiltrate the family. Aline MacMahon plays the editor’s secretary who is so disgusted at what is going on you can see her transformation from peppy capable woman to total wreck who gets drunk in the middle of the day. She cannot support what is happening, and her employment makes her complicit. I must call out H.B. Warner (mostly remembered for his performance as Mr. Gower, the pharmacist in It’s a Wonderful Life) who gives what I consider to be a towering performance here, as the loving husband to the wife whose name is being slandered. He is TRAGIC. He GOES there. For REAL. My God. Five Star Final doesn’t pull its punches. The consequences of the paper’s actions are irrevocable. Tragedy is not averted. This is a very very angry film. I thought it was great.

The Mouthpiece (1932; d. James Flood, Elliott Nugent)
No, not the 2019 film I really loved. This is another hard-hitting pre-Code, with Warren Williams (so-called King of the Pre-Codes) in his first starring role. He plays an avenging-angel prosecutor, who sends a man to the electric chair, mostly because of his ringing-to-the-heavens evangelical closing argument. Turns out the man was innocent. He is so distraught at what he has done he descends into the lower depths, eventually “switching sides” and becoming a defense attorney, representing the dregs, the worst of humanity. Not only does he “represent” these people, he’s “in bed” with them, financially. He lives a gangster life, all money and booze and women. The total destruction of a man’s moral compass. Another good one I’d never seen before.

Grand Hotel (1932; d. Edmund Goulding)
I just read the novel for the first time (it’s a masterpiece. I guess I had no idea. I’m sorry.) so I re-watched the film. It’s so damn good. CRAWFORD. She’s so REAL.

Still Missing Morgan (2023; d. Devon Parks)
I wasn’t aware Ridley Scott was one of the producers of this. What could have been a glorified 48 Hours or Cold Case Files is instead something much more looming, awful, unfinished, infuriating. I was so busy with work in February, writing, etc., and spent half of the month not in my own bed, so I have been struggling with being “frazzled”, my word for … danger zone. It’s been hard to turn off the adrenaline required to get through every work day. One of the ways I relax is watching horrific little mini-series about horrific events. I recommend this. A lot of care has been put into it. It’s a terrifying story.

The Heart of New York (1932; d. Mervyn LeRoy)
Another Mervyn LeRoy picture. His films were a THEME this month. A crowded rambunctious movie – slightly tiresome at points – about a group of Polish immigrants clustered on the Lower East Side, living together, surviving, joking, lots of broad stereotypes but – unlike now – lots of Jewish people actually playing Jewish people. Vaudeville stuff, some works better than others. There is a plot. The patriarch of a family, who owns a successful fabric business? I can’t remember – has basically invented a washing machine. It will change the world. He is always inventing things and trying to get patents, only to find someone else got there first. The down side of the American dream. There’s also a lot of stuff about the children of immigrant parents: how they break away from tradition, their feet in two worlds. I posted a couple of images on my Instagram: of the teenage daughter, in her underwear, changing in front of the shop window, not caring that all the old Jewish dudes on the street are staring in at her, scandalized. This is how you tell a story in visuals. You don’t even need words. Look at the lettering on the window and look at the people cast outside. It says it all.

I wrote on Instagram that the film has a “sentimental view of adorable poverty on display … with a hearty cast of character actors and a script that makes you yearn for Odets – who was already writing at this point, but his one two punch of Waiting for Lefty and Awake and Sing came in 1935 – three years in the future. In one fell swoop, Odets’ writing made other writing taking place in similar environments look stock. Vaudeville schtick as opposed to the real deal. But the schtick is still sometimes entertaining even if it wears out its welcome.”

Week-End Wedding (1932; d. Thornton Freeland)
Loretta Young stars as a young wife who becomes the breadwinner in her marriage. She basically can’t stop working, because her husband (Norman Foster) is out of work. It’s 1932, after all. He becomes depressed, and she is a workaholic. She really enjoys her work. This is another problem. She’s dangerously on the verge of becoming a “career woman”. And we can’t have THAT. Society re-asserts itself near the end of the film where she is basically blamed for the husband falling deathly ill. She wasn’t there to care for him. Oh, boo-hoo, the guy can’t find a bottle of aspirin on his own? But there are a lot of interesting observations about marriage, in my opinion. How a hectoring teasing wife – constantly belittling her husband – has no one but herself to blame when he strays or finally has had enough of it. I wouldn’t want to be belittled 24/7 by someone who thinks they know best. My first relationship was kind of like that. When I rebelled, I went CRAZY. So. But the whole “how dare you enjoy your job, your husband is now dying because of it” thing is a bit MUCH. George Brent shows up here.

Desperately Seeking Susan (1985; d. Susan Seidelman)
It’s been years. Such a time-traveler. It makes me sad about New York, about the changes since 1985, how it is basically a city only for the rich now. There’s not really a vibrant downtown scene anymore. No one can afford it. Artists are moving to other places now, and New York is a lesser place because of it.

Gold Diggers of 1933 (1933; d. Mervyn LeRoy, Busby Berkeley)
I’m not sure how many times I’ve seen this. Thirty? I first saw it as a child and was swept away by the kaleidoscopic dance numbers created by Busby Berkeley. I found them confusing, beautiful, alienating. And then there was the spectacle of the four young actresses, living in one apartment, trying to survive, going to dance rehearsals, barging into casting offices, supporting each other. To a 10-year-old girl like myself, this was living the DREAM. It’s why I thrilled to movies like Stage Door, 42nd Street, even Morning Glory. I wanted that life. I didn’t care if I was cold and hungry, I wanted to go to dance classes in character shoes, and then go home to my crowded apartment filled with girls in the same boat. (I eventually did live that dream.) I finally wrote a piece years in the making – YEARS – about the similarities between Gold Diggers of 1933 and the unfairly-maligned Sucker Punch. The piece was included in a book (limited editions) so I reposted it here.

The Life of Jimmy Dolan (1933; d. Archie Mayo)
An absolutely gorgeous holy shit Douglas Fairbanks, Jr. plays Jimmy Dolan, a professional boxer – with an apple-pie life made up for him by the adoring press. He’s a champion. Behind the scenes, though, he’s loose and wild and debauched, and one night he gets in a drunken fist fight with a guy and accidentally kills him. He flees. He goes into hiding. He’s famous, though. it’s hard to hide. So he goes out west and ends up wandering into a home for disabled children, run by – sisters? – Loretta Young (again) and Aline MacMahon (again). Look for a small buck-toothed Mickey Rooney as one of the kids. The kids are treated with compassion (by the sisters and by the film), and there’s a little Black child among the kids, and there’s a surprising lack of racist framing of him. He’s one of the gang. Jimmy finds a new lease on life, working for the home, teaching the kids boxing, milking cows. But of course his past will rise up to haunt him. I mean, look at this man.

Heroes for Sale (1933; d. William Wellman)
A FURIOIUS movie, made during the worst year of the Depression, and it’s not only ABOUT the Depression, but about the shameful treatment of WWI vets, who returned home shell-shocked, injured – physically and mentally – and then abandoned by the society that sent them off to war. A continuing problem today. Richard Barthelmess plays one such soldier, who was given morphine for a war wound, which led to an addiction. Because of his addiction he loses everything. He is homeless, one of the millions of wandering men during those years, looking for work, any work. I wrote about this film years ago. Haven’t seen it since back then. It’s just as good as I remembered. It’s amazing to see a positive portrayal of a Communist Russian. This would soon change. The Communists, remember, were seen as the only potential stop on Hitler’s rise to power. the Hitler-Stalin pact was a shock an entire generation was unable to recover from. All that is in the future though. Heroes for Sale is the final number of Gold Diggers of 1933 – “Remember My Forgotten Man” – stretched out into a full narrative. I mean look at that title. Talk about not pulling your punches. Loretta Young, again. Warner Brothers. The same people in every movie.

Six Feet Under (2001-2005)
A recent conversation about Lili Taylor’s stint on Six Feet Under inspired me to a re-watch (of just those episodes). It’s been a long time since I’ve seen this show and it was amazing to me how much came back to me. I had forgotten how EARLY in the series she arrives. In my memory she entered maybe the 4th season or the 5th. It’s a phenomenal performance from her. I know people were annoyed by her but … I mean, haven’t you ever loved someone who wasn’t into you? If you HAVEN’T, then get down on your knees and thank the Lord above. It’s so painful your personality changes. You lose your spark, your joy. And it’s even worse for Lisa, because he MARRIES her. Nate is the WORST. God, he’s the WORST.

The Quiet Girl (2023; d. olm Bairéad)
A stunner. I reviewed for Ebert.

One Way Passage (1932; d. Tay Garnett)
How had I never seen this beautiful movie before?? It takes place on board an ocean liner, traveling from Asia to San Francisco. William Powell, wanted for murder, is on board. So is Kay Francis, a beautiful woman, who also happens to be dying. They fall in love: he doesn’t tell her he’s a wanted man, she doesn’t tell him he’s dying. The ship is crowded with grifters and frauds, as well as the detectives tracking them. It’s not just a witty caper. It’s suffused with romanticism, doomed love, tenderness. I was incredibly moved by it. Leave it to William Powell and Kay Francis – such a great pair together – to be able to believably perform the phenomenon of “love at first sight”.

Murdaugh Murders: A Southern Scandal (2023; d. Jenner FurstJulia Willoughby Nason)
Okay, I got sucked into it. I avoided the story as long as I possibly could. I’m all caught up now, thanks to the Netflix doc. I also watched the sentencing hearing. Damn you.

Marnie (1964; d. Alfred Hitchcock)
Tippi is put through the wringer here. She looks totally destroyed by the end of this psychological mind-fuck. It’s a tremendous performance. Very disturbing.

Operation Fortune: Ruse de Guerre (2023; d. Guy Ritchie)
I’m sorry to say I didn’t really like this. A movie like this should be fun and it wasn’t really fun, except for Josh Hartnett. I reviewed for Ebert.

Preparations to Be Together for an Unknown Period of Time (2020; d. Lili Horvát)
My new obsession. I’ve seen it three times already. I wrote about it on my Substack, and have been having an amazing conversation with “mutecypher” about it over there. It’s so deep. This is my kind of movie.

Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

This entry was posted in Monthly Viewing Diary, Movies, Television and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , . Bookmark the permalink.

18 Responses to February 2023 Viewing Diary

  1. James says:

    I always appreciate these recaps – thank you! I usually find something to make a note of for later.

    I also watched Gold Diggers this month, but for the first time, per your recommendation. I’d seen the showstopper final number before, so it was a pleasure to find how fun the rest of the movie is, not all gloom and doom. Loved the essay you re-linked to here.

    Speaking of “forgotten men,” have you ever seen I am a Fugitive from a Chain Gang? Paul Muni is also a WWI vet discarded by society, which leads him to the chain gang in question. It was my first Muni, and I can see what the fuss is about. (Although his character made a colossally dumb decision halfway through the movie; I kept shouting “stupid!” at him the rest of the film.)

    • sheila says:

      James – hi! Thanks! yeah – in re Gold Diggers – it’s really kind of a screwball – that last number is (sort of) subtext but … it honestly is a stand-alone. I can see why Jack Warner was like “uhm, yeah. that number has to go last. Nothing can follow it.”

      // I am a Fugitive from a Chain Gang // !!! YES.

      It’s been a while though. The final shot – as I recall – is … bone-chilling. doesn’t he just sink back into the darkness with this horrified scared look on his face? It’s a surreal looking ending for a really rough real movie. AMAZING movie – I should watch again!

  2. Bill Wolfe says:

    I love One Way Passage, too. I gave it as a gift to a friend who loves Golden Age movies and it was appreciated. If you haven’t seen it, a somewhat similar movie you’d probably like is Frank Borzage’s History Is Made at Night, which is my all-time favorite romantic movie. Jean Arthur and Charles Boyer at their peaks with Colin Clive as one of the most despicable villains ever.

    • sheila says:

      History is Made at Night is MAGICAL.

    • sheila says:

      You know James Cameron saw it. There are a couple of sequences totally lifted from History Is Made at Night!

      I think it’s one of the most romantic movies ever. My good friend Dan Callahan wrote the booklet essay for the Criterion release!

    • sheila says:

      and I agree with you – I thought of History is Made at Night when watching One Way Passage. It’s not AS romantic as History – because Frank Borzage’s romanticisim was singular and his own gorgeous thing – but it definitely is in the same realm. The way Powell and Francis meet – smashing their champagne glasses on the bar – and then the final shot – wahhhhh!! So touching!

      You truly believe that on that ocean liner anything can happen. Time stretches out. Love is possible! even between a murderer and a dying woman! Redemption exists!!

      • Bill Wolfe says:

        Yes! And I have that Criterion DVD. I confess I have not read the essay, because I’m lazy and I don’t read as much as I should, but I will make a point of it, having enjoyed Dan’s writings that you’ve posted here.

        • sheila says:

          it’s SUCH a magical movie and I think Dan captures it. but I totally get it – there’s wayyyy too much to read out there, lol .

          Even just talking about the movie makes me want to see it again!

          I love how it feels no rush to kind of “move on with it” – like the whole long night they spend together … it’s just one of those magical nights where time seems to stretch out. and the movie just lets it be that. It’s like entering a dream or something.

  3. mutecypher says:

    You had me at “an incredibly sexual disturbing scene involving an after-hours jazz-band jam, where Elisha Cook Jr. is whipped into a frenzy by his own drumming.” Poor Elisha, nothing good ever happens to him.

    I enjoyed Phantom Woman. It’s crazy that Franchot Tone gets top billing but doesn’t show up till half way though the picture. His scene with Elisha, where he talks about all the things that hands can do – that was moving and creepy. Very well done. When I was a kid, some lady came up to my dad and told him he looked like Franchot Tone. Luckily for me, Dad was never that creepy.

    There was a shot of Ella Raines in Franchot’s studio where the camera seemed to be tied or coupled with her in some way. As she moved back and forth to emphasize her point the background came just a little in and out of focus, but she stayed the same distance from the camera. That was also done in another of her scenes. I had thought that the technique of keeping the camera tethered to the actor as she moved was something only done later, when movie cameras got smaller. It wasn’t a “big” effect, but it placed you even more in her headspace, in her perspective.

    A couple other things jumped out at me. Horns and drums are freaking loud. If Ella was in that tiny room with that jazz combo, it would have been like having Metallica thrashing around in your living room. Also, I wonder if in real life women wore such extravagant hats to shows. You pay for a third row seat and then the person in the second row is wearing a small peacock on her head? It’s interesting to wonder what was real and what was only in movies.

    And I really enjoyed our conversation about Preparations to Be Together for an Unknown Period of Time.

    • sheila says:

      I mean, Franchot Tone more often than not played good guys, helpful nice people. He was handsome and well-liked, all around, from his Group Theatre days to his Hollywood days. He didn’t often play villains. So that’s probably what that woman was picking up on. One would hope.

      • mutecypher says:

        Dad was a good guy, and he cleaned up well. We were at some event where he was in a jacket and tie when the lady came up to him.

        He did have strong hands. He was a surveyor when I was a kid, so he pounded a lot of stakes into the ground to mark distances and elevations.

        But like I said, not creepy :-)

    • sheila says:

      Hats were much smaller in the 40s – not like Edwardian or Victorian hats! The lady with the feathered hat definitely would stick out! You should DEFinitely take your hat off at the theatre!!

      and yes – good catch about the camera following her. By 1944 the cameras were much more mobile. They were doing dolly tracks and tracking shots and all the rest. I mean, they were doing that in the silent era too – it just required them to be super innovative. I love how even before the technology was in place, directors were like “is there any way we can move this damn thing?”

    • sheila says:

      I’m so into Preparations right now that I’m seeing it everywhere – I’m going to be writing about a short film I just fell in love with – it’s premiering at SXSW in a couple days – and I’m seeing it totally through the filter of Preparations. Okay, maybe not totally, but it’s in the same realm.

      • mutecypher says:

        That movie really grabbed me too. I look forward to hearing about that short film. I liked the comments about sex scenes you and Lyrie and Caroline made in your Jensen birthday post.

        I was also energized by Emily. I am still loving the mask. Mulling over the Oscar Wilde quote about telling the truth when one puts on a mask. Put it on, summon a ghost and a hurricane. Dig it up, summon Wuthering Heights. Emily’s truth. I was surprised at how Charlotte was portrayed, so I picked Juliet Barker’s book about the Brontë family. Only about 50 pages in at this point. I see that Patrick had some drama in his youth involving (probably) undelivered letters to his first betrothed. I wonder if Frances O’Connor was inspired by that to have the Branwell/Weightman letter situation play out as it did.

        I’m sure you know, Criterion is showing several Isabelle Huppert movies this month. I watched The Piano Teacher a couple of days ago. That movie just kept on going. I doubt I’ll want to take that trip again. Incredible (to use the mom’s word) performances.

        • sheila says:

          Yeah, I never need to see Piano Teacher again.

          If you haven’t seen La Ceremonie – that’s my fave. My favorite Chabrol as well. the less you know about it going in, the better.

  4. Althos says:

    After Hours was in my viewing diary too. I watched it after seeing Jonathan Demme’s Something Wild (1986), a road trip from the 80’s.

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.