Criterion’s Raging Bull: available now!

Raging Bull has entered the Criterion Collection and is available for purchase, at Criterion or elsewhere, Amazon, Barnes & Noble whatever. (Also, by the way, David Lean’s Summertime also entered the collection, simultaneously, with an essay by my friend Stephanie Zacharek.)

The special features on Raging Bull are multifold and extended: three audio commentaries, interviews with all the main players, archival footage, archival interviews, an essay by my friend Glenn Kenny (not online yet: will be there in a couple of days), and two video-essays, one by Geoffrey O’Brien and one by yours truly.

Very proud to be a part of this one.

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Trauma and Self-Pity: Jensen Ackles’ Acting Technique

So far, the Jensen minions are not as on top of their game in gif-creation with his performance as Soldier Boy in The Boys as they were with Dean Winchester, so I couldn’t find the moment I wanted to discuss. (Also, it was from the finale of The Boys, which aired last week, so it might be too early). I recorded the moment off of my laptop with my phone, because I was desperate, and posted it here. I’ll share what I wrote over there, with a little elaboration, because repetition is necessary when you have multiple social media accounts and … no longer use Twitter, lol.

The tiny moment in that clip – where his trauma leaks out – briefly – is why he’s so good and why I’ve written so much about him. The way his expression suddenly floats away from the clearly angry and pained expression when he’s speaking, and something happens to him, he goes somewhere, and then …. it goes deeper, and for a brief second a look of fear comes into his eyes, so he quickly puts his eyes down, with a quick glance in Butcher’s direction: it’s a moment where he’s almost checking to see if Butcher saw the look on his face, hoping he didn’t, but he can’t quite look Butcher in the face.

You think the moment is over: he’s expressed his anger at his father’s disapproval and contempt of him, but then … something else comes up. From a deeper place. It looks involuntary.

The thing with Ackles is, and this is key and what I keep talking about: it’s NOT involuntary.

His technique is so controlled.

And this leads me into something else:

I’ve said it before: one of the least dramatic emotional states any actor can play is self-pity. And yet so many actors love to cry for themselves. Or, they don’t love it, they just find it irresistible. And so there’s a monologue where a character explains how bad things are or have been, and the actor is sucked into what the language appears to be, and so they sit there feeling bad for themselves as they speak. (Never mind that most humans don’t want to show how sorry they feel for themselves.) Good actors understand – or intuit unconsciously – the snooze-fest that is self-pity. It’s an old adage in acting classes: don’t cry for yourself: let the audience cry for you. Don’t feel EVERYthing. Leave SOME for the audience. Even monologues that seem to encourage self-pity usually have underlying emotions going on far more interesting than feeling sorry for yourself. And, worse, reveling in feeling sorry for yourself.

I always think of D.H. Lawrence’s poem on the subject. It is called, wow look at that, “Self-Pity”:

I never saw a wild thing
sorry for itself.
A small bird will drop frozen dead from a bough
without ever having felt sorry for itself.

I’m being prescriptive to make a point. There are exceptions but they are rare. Outrage/indignation/loss … these things are not self-pity.

In Supernatural, Dean Winchester had so much to feel sad about. His moments of “why me” are few and far between, and when they DID come they were heartbreaking.

Trauma exists as the underlying condition: if you have technique (not talent, but technique: the two are related), you can choose the moments of “leakage”. You’re not in its grip. You conduct your own emotions, you choose what to let out, and how much. It bears repeating: Being able to do this isn’t talent. It’s technique. Ackles is so SO good at conducting his emotions, letting out just enough but not too much. He never EVER betrays the character. There were so many final moments in Supernatural episodes where Dean stood alone, with a floating look of dissociation on his face, a private moment where his internal experience made it up to his face.

In regards to all of this: I think of Tennessee Williams’ response to an interviewer’s question about the sad fates of his female characters. Williams was almost confused by the question, and he said, “I’ve never written a victim.” Think about that. There is nothing worse than a Blanche Dubois who feels sorry for herself. Blanche fights – until the very end – for survival, dignity, and kindness.

And so this moment in The Boys, something leaks out in the middle of what could have been a very soggy monologue. What quickly follows is an attempt to hide that shit again.

Because The Boys was created by Eric Kripke, the story is not really about superheroes, it’s about cruel or emotionally distant fathers who fuck up their sons by disapproval or rigid ideas of being a man.

And here, it is through Soldier’s Boy’s moment of leakage – NOT through the words he says – where we see the damage that has been wrought, and how deep it goes.

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“I was always getting kicked out of school for being overdressed. I would wear a hat and look like Bette Davis or Greta Garbo.” — Bonnie Pointer

“We’ve decided. We want to sing everything.” — Bonnie Pointer, when early labels tried to push The Pointer Sisters into a strict genre

Bonnie Pointer, who just died last year at the age of 69, was born on this day.

The Pointer Sisters sang big-band swing, gospel, disco, Broadway, country, pop, jazz, soul … It was a melange, a mish-mash, a pouring-together of all of their influences into one eclectic truly ECCENTRIC whole. There was literally nobody else like them.

Bonnie Pointer, one of the founding members of the quartet, eventually broke off and had a solo career, and by the time I was aware of The Pointer Sisters – this would be in high school – the quartet had become a trio. I had a couple of their albums, and gravitated towards the Andrews-Sisters-big-band-swing harmonies – SO TIGHT! – and tried to sing along with this or that line, and found it very challenging, but it was a fun challenge! They dressed so colorfully, with big hats, huge flowers in their hair, tight dresses with flared skirts and colorful prints, and their movements were HUGE, but also perfectly coordinated. They were thrilling to watch. The old-fashioned and out-of-style and yet SO NECESSARY definition of “an act.” They had an amazing ACT. You couldn’t look away. There was nobody else like them.

More on Bonnie Pointer after the jump:

Continue reading

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Review: Claire Denis’ Both Sides of the Blade (2022)

For Ebert, I reviewed Both Sides of the Blade, the great Claire Denis’ volatile romantic drama (or melodrama, depends on how you look at it) – starring Juliette Binoche and Vincent Lindon (who was so heartbreaking and insightful and tender and tortured in Titane last year – my review here).

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Eminem’s Jack and the Bean

In Eminem’s song “The King and I” – which plays over the credits in Baz Luhrmann’s Elvis, with Cee Lo Green doing the raucous chorus (an exact echo of Jailhouse Rock), early on comes this verse:

Modus operandi, bottle-a blonde dye.
Top five since I discovered peroxide.
Yeah, since I got signed, I went from pot pies
To Jack and the bean, I’m watchin’ my stock rise.

The puns and homynyms are everywhere. It sounds like one thing, but then you hear the other thing present, buried in the sounds.

“Jack and the bean”: Okay, got it. I understand the context of the story, and how he’s connecting it to his own life. Eminem is watching his “stock rise”, his success, right? But also he’s watching his “stalk” rise, because he’s Jack and it’s a BEAN stalk. But “Jack and the bean”, the way he says it, also sounds like “jackin’ the bean”. A dirty reference. I had to look it up and now I’m sorry I did.

To re-cap: he went from pot pies to “jackin’ the bean”. And I just must point out his correct use of the words “modus operandi” and then how he rhymes it with “bottle-a blonde dye.” Dude.

This kind of thing drives people crazy with Eminem. It’s so nerdy. and you have to actually listen closely, because what he is saying doesn’t matter as much as how he’s twisting words around to make them sound like other things. Take, again, the little 4 lines above: nothing he says there is new. In fact, it’s old news: I dyed my hair and became famous. I went from rags to riches. Yeah, we know, Marshall. But he doesn’t say it like it’s breaking news. He twists it up merely to have fun with language.

Sometimes these little schemes are eye-rollingly bad. Dad-joke-dumb. You can’t win ’em all. But then sometimes he’s truly clever and it takes about 5 minutes to work out what he’s doing.

My sister Jean said, “How long has he been waiting to use that Jack and the Bean scheme?”

The man has filled notebooks with scribbled puns and word play. Not everyone wants to parse out every pun and every joke in every song they listen to … like James Joyce forced his loyal readers to do in Finnegans Wake and some sections of Ulysses … but I think it’s fun.

 
 
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.

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Things done and seen in Chicago

I haven’t flown in three years, maybe more. There’s still a lot of stress in going out into the world and mingling with the populace. Plane tickets are insanely expensive right now too. But I was determined to take a trip, even though I couldn’t take any days off work (I have a full-time job now. Lots going on. The job is remote, though, so I can do it anywhere). I got in at 7:44 a.m. on a Friday. Mitchell and I started our drive back to the East Coast the following Wednesday – which means I was only there for five days, but it feels like I was there for two weeks. We packed so much in. I still feel like that place is home. One of the biggest regrets of my life was moving to New York. Regrets like that are a waste of time, I get it, but it still rears its head on occasion. Anyway, it’s always good to go back. I took a cab from the airport to Mitchell and Christopher’s apartment. Naturally, I bonded with the cab driver. Par for the course. I walked in the door at 9 a.m. And so began my trip. Here is what we did:

— Mitchell and I went to meet up with Julie at Svea, for a delicious Swedish breakfast. It was the day Roe fell, so we were in a state of anger and despair. Like, what the ever-living fuck, America. I’m so fucking OVER you right now.

— Then we drove down to the movie theatre on Diversey and Clark – it’s on the top floor of a big shopping mall – and I saw so many things there back in the day. I saw Titanic there. I saw Apollo 13. So many things. Anyway, we went to see Elvis. We sat in the back row. Sitting in front of us, alone in her row, was a tiny white-haired old lady who was literally dancing around in her seat, occasionally waving her arms around to the beat, and in general having a great time re-living her youth and re-experiencing the crush of her youth. We absolutely fell in love with her.

— Mitchell and I headed home and hung out for the afternoon, watching Ru Paul’s Drag Race. I am not at all up to date, so Mitchell filled me in.

— Saturday, Mitchell snagged comp tickets to Steel Magnolias, playing out at Drury Lane, in the suburbs of Chicago. Amy Carle was in it, playing M’Lynn. I haven’t seen Amy since she read the part of “Neve” in our Chicago reading of July and Half of August, which was then called The Hill You Die On, after changing it from the original title The Black Wave. I wrestled with the title. Anyway, Amy is a phenomenal actress, and I will always have a soft spot for her because of what she brought to my script, how clarifying her presence was, how intelligent her questions. She helped make the script better. So there we were, Mitchell, Christopher and I – heading out to Drury Lane, driven by Erin, whose girlfriend Elizabeth was playing Truvy. Drury Lane is quite a SCENE, a very unique theatre scene, and the production was Broadway-level in its production values. The cast was superb, all these great illustrious Chicago women, and we thoroughly enjoyed ourselves. There were all these Pride events happening that weekend, and Mitchell has a similar aversion to crowds now – and we agreed that going to see Steel Magnolias was a perfect Pride-adjacent thing to do.

— Over the course of my time there, we did a lot of hanging out at the apartment, a beautiful cozy space on the 8th floor of a hi-rise right on the lake shore, with an amazing view. We watched A Star is Born (the Judy Garland), we watched the entirety of the Julie Andrews AFI celebration, we watched Taxi Driver on TCM, and had great discussions about incels and sociopathy, and we ended up watching the first four episodes of The Boys. Not all on the same day.

— I created a Substack. I haven’t sent it out yet, but one of my goals for the trip was to create one, and so I did. I’ll be sending it out with the piece I write on Elvis, since … nobody asked me to write about it. Good to know where I stand. I am still slightly confused about Substack: I have a newsletter, but it’s not a paid subscription, and everyone seems to be doing Substack now so I figured I’d give it a try.

— on Sunday morning, Mitchell and I met up with Kate, one of my dearest and now oldest friends. I haven’t seen her in 4 or 5 years. We Zoomed occasionally during the pandemic. I miss her so much. We met up at M. Henry, a breakfast place in Andersonville. Some years back, during one of my visits to Chicago, Kate, Mitchell and I had … a seven-hour brunch there. Seven hours. It’s legendary. It seemed only right to gather there again. This brunch was a four-hour-long extravaganza, but it was perfect. Forever friends.

— After that, Mitchell went to a Pride event, and I think he was meeting up with Christopher there. I wanted to go, but decided to stay home because I needed to watch Clara Sola, since I was reviewing it. I had been bitching about it, but then it turned out to be a very good movie. I love it when that happens.

— I worked remotely on Monday and Tuesday, setting myself up at the kitchen table. I also wrote the Clara Sola review.

— on Monday night, we went to Sidetrack for “Musical Mondays”. I haven’t been there in years. It was there when I lived there, a small-ish gay bar with video screens everywhere, behind the bar, on the walls, and on Monday nights, they played an hours-long compilation of performances from American musicals, in film, on the Tony Awards, on the Merv Griffin show, wherever. It was a little tradition to go to Sidetrack every Monday night. (The video montage is different every Monday. The amount of work that represents …) Sidetrack has now exploded, so many years later. It’s expanded both horizontally and vertically. There’s a rooftop deck, there’s a whole other gigantic room, attached to the pre-existing bar. I’m so happy for them! We met up with Emma, who literally had just moved to Chicago two days before. It was all very full circle: Emma is the daughter of my dear friends David and Maria – who are also Mitchell’s dear friends – we go back to college years. I have known Emma literally since she was born. And now she is a beautiful young woman, an actress and singer, on hold during the pandemic, now venturing out to find herself, and her career. Her boyfriend lives in Chicago so it seemed like the right choice. The exact same journey – and almost the exact same age – that her parents made the move to Chicago so many years ago. So I was so glad she came! Mitchell’s good friends Jason and Brad also showed up. I only know them from social media – we follow each other – so it was great to put faces to names and experience them in person. They are so well-read, well-informed, culturally literate and do cool shit like take tap dancing lessons just because and also go to concerts about 4 or 5 nights a week. At one point, a clip from Living Out Loud started on the video screen – the dance scene – and I exclaimed how much I loved that movie and how it’s been almost totally forgotten and – OF COURSE – leave it to gay men to remember and carry the torch. I said, “Elias Koteas is in that. I love Elias Koteas.” Brad thought a minute, trying to place Elias Koteas in his head, and then said, “Oh yeah. He’s the poor man’s Christopher Meloni.” I mean … I feel comfortable with people who understand obscure references and then ADD to it with their own reference. Elias Koteas is the poor man’s Christopher Meloni … I would have said “the poor man’s Mark Strong” but Meloni will do.

— On Tuesday night, I met up for dinner with Ann Marie. Again, I haven’t seen her in three years, maybe more. It’s hard to be separated from friends. The pandemic, in a way, made it easier because we COULDN’T see each other, but still … We sat outside (we still feel more comfortable being outside than inside: I was a little freaked by Sidetrack, being inside: we left before it got really crowded though). We caught up, so much to catch up on. It was a beautiful night in Andersonville. I came home with the sun setting behind me, and Mitchell’s apartment was FLOODED with golden sunset light.

— Tuesday night is when the three of us curled up and caught ourselves up with The Boys. It was a blast.

— Early-ish Wednesday morning, Mitchell and I took off to drive back to Rhode Island. We split it up, 7 hours each day. We got a hotel somewhere in Pennsylvania. We literally talked – and sang – the whole entire drive. I am not exaggerating. We sang through the entire score of Evita, start to finish. I was amazed at how much I remembered, although it pales in comparison to Mitchell’s memory. He literally knows every word. We also discussed: Helen Reddy, the Bee Gees, the Boswell Sisters, Luther Vandross, Adam Lambert, Blossom Dearie … the list goes on and on. Mitchell’s shuffle was a goldmine. All the people, many of whom Mitchell first introduced me to, back in college. Dinah Washington, Sarah Vaughan, all the great jazz ladies. We arrived in Rhode Island at around 7 pm on Thursday night.

I feel like I entered a worm hole where time stretched out. It CAN’T have been only five days.

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Criterion’s Raging Bull: official release date 7/12

Looks like the release date is mainly for ordering from the Criterion site, because it’s available now as part of the Barnes & Noble Criterion sale. At any rate: hot on the heels of the Worst Person in the World release, where I wrote the booklet essay, comes Criterion’s 4k digital master of Raging Bull, with so many special features it’ll take you a week to get through it. All Marty-approved material. As I learned to my shock and awe.

I’m so pleased I got to write (and narrate) a video-essay on the acting performances and am very much looking forward to the discussions about it, and the observations made by other people.

Doing Worst Person in the World and Raging Bull essentially back to back makes me so happy since two more different movies cannot be imagined. It’s kind of like when I wrote the booklet essays for The Great Escape and Dance, Girl, Dance – a so-called “boy movie” and a so-called “girl movie” (yuk) – back to back. I was juggling my research into the Luftwaffe POW camps and the avant-garde dance scene in the 1920s and 30s … nothing had anything to do with anything else … and it was a good versatility test, that they trusted me with both. I’m not a specialist, if you get my drift.

Anyway, very much looking forward to this release, and judging from internet comments, I’m not alone.

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“We’ve got work to do.”

Kripke knows what he’s doing. He knows who’s watching. He takes care. He keeps it in line with the new series and aesthetic, but he knows we out here will recognize the nod.


Supernatural


The Boys

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Robert De Niro sleeping, God’s eye view


Taxi Driver


Mad Dog and Glory

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Mary Astor’s wardrobe for her tough-talking butch-matriarch in Desert Fury

Let’s hear it for Edith Head’s conception and design of Mary Astor’s wardrobe in Desert Fury (1947) and its elegant-but-decadent-baroque-butch aesthetic.

This Technicolor noir is now streaming on Criterion, and you should see it while it’s there. The film is a rarity. Keith and Dan had a copy of it and hosted a special screening of it for me, Farran, Louis and Imogen – before the pandemic – when life was simpler. I had never seen it before. Neither had Farran. It was glorious.

Wendell Corey makes his debut in Desert Fury, and it’s his first time appearing opposite husky-voiced Lizabeth Scott, who plays a 1940s version of Natalie Wood in Rebel Without a Cause, a college-dropout restless teenager, parent-dominated, and attracted to bad boys. Scott gets between Corey and his longtime boyfriend. The gay relationship is not subtext. It’s right out there in the text. And Astor? … well. She’s obsessed with someone too. And … it’s disturbing. This is also not subtext. It’s obvious, it motivates everything. These actors all knew what they were playing.

Corey is so good, so riveting, as a gay criminal, a born “heavy”, with dead eyes, keeping house while his partner philanders around with women, women Corey cannot bear to have come between them. He’s treated like a house maid and he is over it. His boyfriend needs to choose HIM, not some dame. The two have been together for nigh on thirty years.

The swirling sexual-dynamics and the androgynous sexual-archetypes/personae in Desert Fury almost make the sexually-fluid-fever-dream of Johnny Guitar look picket-fence-conventional, and that’s saying something.

Everyone’s clothes in this are spectacular, it is Edith Head after all, but Astor’s are next level. Check out the sensible sandals in the first outfit. She’s ready to pop across the desert to attend Burning Man and join up with her lesbian drum circle.

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