This movie is fantastically fun. I highly recommend it.
My review of A Simple Favor, directed by Paul Feig, starring Anna Kendrick and Blake Lively, in HIGH form, is now up at Rogerebert.com.
This movie is fantastically fun. I highly recommend it.
My review of A Simple Favor, directed by Paul Feig, starring Anna Kendrick and Blake Lively, in HIGH form, is now up at Rogerebert.com.
This is so sad. I saw Marin Mazzie in Ragtime and Passion, which made me a lifelong fan. She was incredibly powerful onstage, her beautiful soprano filled with so much breath and intention it almost felt like a belt. And she could belt too. An amazing actress. The LA Times has an indepth obituary. The loss to the New York theatre world is incalculable.
Watch this performance of Stephen Sondheim’s “Losing My Mind”, sung at the concert celebrating Sondheim’s 80th birthday. I know I say this all the time, but watch where it starts … and then watch where it goes. That progression is in her hands. She has clearly worked on the song – but the performance shows the song working on her (she allows it to work on her), and the implications of the lyrics grow more and more powerful for her. She starts the song nostalgic almost, quietly remembering the man she loved, sharing how haunted she is by losing him. Her voice is gentle, her head voice fluidly mixing with the lower registers (one of her gifts). But where she ends up … the song leading her there … is howling with grief, loss, rage. By the end, she’s belting, and she allows her voice to sound not-so-pretty. Her breath heaves, she needs it, she doesn’t hide it. This is what the song requires. This is what the journey of the lyrics requires of an actress. Amazing voice, aMAZing actress. She acts the hell out of this.
Rest in peace. Huge loss. She was only 57 years old.
His movie star body-head angle. Supermodels use their angles this way. Joan Crawford used her angles this way.
Burt is fun to study because star charisma is difficult to describe and yet it’s really fun to try.
Obsessive side note: Jensen Ackles uses his body-neck-head angles like this too – which I’ve written about in my Supernatural recaps. Just one example:
There’s an almost feminine quality to using your angles like this. It’s not preening, it’s an awareness of your affect, a dramatic presentation of self and intention which is more accepted in women than in men. Burt Reynolds up-ended that in his movie star persona. (Think of that Cosmo nude photo. The cheesecake pose with the big hairy body.)
Reynolds’ awareness of his shape/silhouette/angles/body placement was all probably pretty unconscious for him, or partly unconscious. The unconscious quality of this is why he was a star. Imagine if he did it consciously. It would come off as preening.
Reynolds understood his body in space, how it reads, how to communicate with it, and also how to make US go “My God, LOOK at him.” Maybe being an athlete gives you that awareness, you’re IN your body and you’re aware of its energy and shape, the space it takes up. Your body obeys you, you’re not cut off from it and waiting to do your “real” work in the closeup.
This is one of the reasons why, at his best, Burt Reynolds was so fun to watch. Because you feel like, “Oh. He’s got this. All I need to do is sit back and enjoy myself.”
The type of elongated angle in that screengrab from Deliverance can be suuuuper over the top in less skilled actors. Like: oh my God who are you kidding, pal …
But when it works, it works. It has to be FULL. And it’s FULL with Burt Reynolds. He knows how good he looks, he knows how to use it, and he knows how to fill it with tension but also a kind of grandiose self-confidence which is a character choice here, not actor vanity.
Amateurs need not apply.
1. Julianne Moore as “Amber Waves”, sitting across from her husband, with a lawyer and a judge present, fighting for visitation/partial custody of her son in Boogie Nights.
2. Gena Rowlands as “Sarah Lawson”, sitting across from her husband, with a lawyer and a judge present, fighting for visitation rights/partial custody of her daughter in Love Streams.
Methinks Paul Thomas Anderson knows his Love Streams.
Clearly, the half-blue wall behind almost identical scenes only reads as a “nod” to those who have seen Love Streams, and that’s a pretty small number, but that’s the best kind of nod.
— I’m going on a vacation next week. My first big vacation in 10 years. Well, I went to Memphis a couple of times. But this one’s out of the country and – for a change – I am NOT going to Ireland. It’s kind of an awkward time because 1. it’s the week of the press screenings for the New York Film Festival and 2. I’m job hunting. I have no job. And I’m taking this gigantic trip. But oh well, it’s been booked for a year, so off I go. Why do I find going on a vacation stressful? I’m annoyed by this tendency. I think it’s part of the freelance-life vibe. It is very very challenging to step out of the stream/river of work/potential work and unplug. It’s not like you get any set vacation time that you can count on. You have to decide to do it. At any rate, I’m headed to a place I’ve always wanted to go to … for decades. I mean, it’s ridiculous. I’ll post all about it once it’s over.
— It’s been beastly hot and the city has been RANK with humidity and the stench of garbage. Today it’s grey, rainy and cool. My kind of weather.
— Yesterday I got together with Wade (I wrote about him here). I have not seen him in … we were trying to figure it out … 10 years? He reached out, randomly, last month and it’s taken us this long to finally see each other. He was one of my best friends in grad school. He kept me sane in grad school. I have missed him. We met up and talked for hours, sometimes roaring with laughter, sometimes deep discussions, and then we had a long conversation about Burt Reynolds. Everything. It was so so good to see him. I love “reclaiming” people. We didn’t have a falling out. We just kind of lost touch. He’s not on Facebook. I love him. I’ve missed him.
— My great friend Alex is making her Broadway debut this month in the Manhattan Theatre Club production of The Nap. Words can’t express how exciting it is, how proud I am of her. I went to a preview last night. Packed house. GREAT show, hilarious, terrific cast (Johanna Day! Heather Lind!). Alex plays a character named Waxy Bush. Because that’s the kind of script it is. Waxy Bush is the linchpin to the entire plot. A trans gangster diva, with one artificial hand (you better believe Alex got so much mileage out of that fake hand) and a tendency to speak in malapropisms. She KILLED it. It was so fun hearing that huge audience experience Alex’s funniness for the first time, to hear those rolling waves of laughter through the theatre. We had a rapturous reunion backstage. I haven’t seen her in a while, a year and a half maybe 2 years? Too long. So yesterday I hung out with Wade for the day, and then went and saw Alex on Broadway at night. Not too shabby.
— It’s been a tough year for my family. But we’re coming through it.
— I have to work ahead to file all the pieces due before I leave on my trip. So this coming week is going to be insane, with viewing and with writing.
— Despite all the stress of this year, I have had a good year for reading. I’ve read a ton of books. Including the entirety of Finnegans Wake for that piece I wrote for Film Comment. I had a long enough lead time to get through the book, which took me three months. It was such a soothing experience, almost like a morning meditation, reading a bit every day. So I’m proud of that. And grateful for it. But I’ve been reading widely and well, lots of fiction, lots of re-reads (Shirley Jackson, James M. Cain), a Tom Wolfe binge, a Christopher Marlowe binge. And I’ve barely bought a thing. This is all from my capacious library.
— Hope’s lip swelled up alarmingly. It looked like a big black balloon. Everything else seemed fine. She was sleeping, eating, following me around. I took her to the vet and she was so stressed out by the experience it took her 2 days to get back to some semblance of normal. My vet is so amazing. He looks like a cross between ZZ Top, Rasputin and an Old Testament prophet. He is the gentlest vet imaginable. He’s so popular it’s hard to get an appointment with him. I lucked out. He lets her sniff the stethoscope, or any of his other instruments, before he does whatever he’s going to do. He respects her. He respects that she needs to smell things just to be like, “Oh. Okay. Here’s this thing.” I so appreciated that. She hissed and howled when he gave her a shot, and the whole thing was incredibly traumatic. He gave me some meds I had to give her and her lip is now back to normal. She’s such a good girl.
— Been making my way through all of Richard Linklater’s films. I’ve seen them all but I’m re-visiting them all. I’ve seen a couple of them many many many times (School of Rock, Dazed and Confused, the Before trilogy) but some I’ve only seen once – like Tape. I saw that one in the movie theatre. He didn’t write it, but it’s such a good script, even though you can tell it was a play. But it’s fascinating and the way he filmed it was intriguing and kind of ahead of its time. It’s not “found footage” but sometimes it feels that way, the invasive camera, the “caught” moments, the feeling that some event is unfolding in real time right before your eyes. And honestly, Robert Sean Leonard has never been better. Uma is amazing too. It’s been a fun “escape” project in the middle of a really really busy month.
— Wade and I, it was like no time had passed. No wonder we became fast friends almost instantly. His Texas no-bullshit and my New England crankiness. There was this exchange from yesterday.
“Yeah, I went on a couple dates with him.” (someone we both know who had just come up in conversation)
“You went on a couple dates with [man we both know]”
“Yeah. And you know me. I’m pretty fast. Like, let’s get to it. And he was all, ‘Oh, I think you’re so interesting, Sheila, I find you so damn intriguing –‘
“Oh gimme a break.”
“Right? Like, you don’t need to romance me, just stop. But here’s the hilarious part. You know [famous feminist writer]?”
“Wait, who is that? Oh wait, yeah I know her.”
“A couple years ago she came out with a book about how she couldn’t have orgasms anymore because apparently the world going down in flames hasn’t engaged her feminism but her orgasm history does. But anyway, she wrote about a guy who helped her get her groove back, who gave her orgasms all day long and you’re never gonna guess who that guy was.”
“NO.”
“YES.”
“You know why? Because she loved the ‘Oh you’re interesting and intriguing’ thing.”
“That’s gotta be it, right? I read a thing in the NY Times about the book, saw his name and was like ‘You have GOT to be fucking kidding me.’ What are the odds? Now I feel like I missed out on his amazing prowess since he was so busy finding me fascinating.”
“His loss.”
“They met at an Occupy Wall Street rally.”
“Oh fuck them both.”
Like I said. Like no time has passed.
My review of City of Joy – a new documentary about the rape epidemic in the Congo, and a couple of people who have banded together to combat the problem – is now up at Rogerebert.com.
This one really got to me. I knew he was old and frail. But I have such affection for him – it’s different than my feelings for other movie stars … it’s its own thing. I am glad he got to experience the expressed love for him at the screenings of The Last Movie Star that happened this year (as well as doing that movie itself, a love letter to him, a space created where he could be with his own fame, contemplate it, regret it, let us in on what it was like to be him.)
There are so many fun roles. People mention Boogie Nights all the time, and yes, it was great to see him play a role with some substance. But unfortunately it’s indicative of a tendency in the critical world to gravitate towards the “serious” as more worthy, less embarrassing to love. Well, I don’t subscribe to that. (See my love of Elvis “formula movies” as possibly the best way to get to know Elvis’ movie persona.) I would say that Burt – at his Burt height – in movies like The Longest Yard, Semi-Tough, Starting Over, Smokey and the Bandit … is the Burt that made him a star. (As well as his revealed biceps and star power in Deliverance). But people don’t admire Burt for his acting, or that’s not all that’s going on. They LOVE Burt for who he WAS. Onscreen, at any rate. There are people with big talent. Some of them become big stars. They appear in serious movies and win awards. This is all fine. I love some of those actors. But the charisma of Burt Reynolds – the way he carried himself – the way he wore his fame lightly, making fun of it – the way he handled his sexuality in an almost casual and self-deprecating humorous way (“Relax, honey, I’m not that good” he says into Jill Clayburgh’s ear before they go to bed for the first time in Starting Over) … all of these indefinable things that made him a superstar … these are the reasons people have such affection for him, this is why he was a star. For the “silly” stuff, the silly stuff that entertained millions. It’s undervalued, this kind of thing. It’s why Reynolds seemed disappointed in aspects of his career, and that, of course, is valid. But as far as the FANS go, there was nothing like Reynolds’ rakish grin, his roguish sense of humor, his pure sex-power charisma – not vain, but so confident he didn’t have to play it up or remind us of it. He lampooned it … in a way that let us know that we were in on the joke. It’s a kind of intimacy with fans that doesn’t happen all that often.
Here are two things about Burt Reynolds:
Mitchell and I discussed him at length. He’s a very interesting topic to dig into. It’s more complex than you would think.
My review of The Last Movie Star over at Ebert. I wrote:
Reynolds acted from pure natural charisma, something unique to him. It won’t win Oscars, but Oscars do not equal actual worth. If you think being “charming” is easy, then walk into a party where you don’t know anyone and try to be as charming as Reynolds. He committed the “crime” of making it all look easy.
Rest in peace, Burt Reynolds. Thank you for giving so much joy to so many. Giving people joy is undervalued and it shouldn’t be. In many ways, it’s the most precious thing of all.
Tamara Jenkins makes about one movie a decade (I wish there were more) and each one is personal in its own way, funny, human, complex. The Slums of Beverly Hills was uneven in spots, but featured an amazingly rich and layered atmosphere – the underclass of Beverly Hills – and an amazing cast (Marisa Tomei, Alan Arkin, Natasha Lyonne). The characters are complex people who marched to the beat of their own often-misbegotten drummer. I loved it. I was a huge fan at the time. I had no idea I’d have 10 years to wait for Jenkins to direct again, this time with The Savages, starring Philip Seymour Hoffman and Laura Linney. It was worth the wait. Hoffman and Linney play tormented unhappy siblings trying to deal with their father’s dementia. The Savages was nominated for 2 Oscars (including one for Jenkins’ superb script). And now, another decade later, is Private Life, starring Katherine Hahn and Paul Giamatti as a couple whose struggle with infertility has co-opted their whole relationship. It’s an infertility … comedy? But no, that’s not right, although it is sometimes very funny. It’s an extremely detailed look at the sometimes absurd fertility industry, but it takes very very seriously the toll wanting a baby and not being able to have one takes on a couple. If you’ve known a couple who has struggled like this, you know how sad it is, how much mourning is done, how difficult it is to move on, to accept that you might not get to “do that,” to deal with just how oppressive our culture can be in its expectation that this is what married people do, and if you want to have a baby, well then go right ahead, have a baby. It’s so good!
Private Life will be playing at the New York Film Festival before being released on October 5.
I reviewed it in the Sept-Oct issue of Film Comment, soon to be hitting newsstands near you (maybe). This is a wonderful film, even though it sounds like a Lifetime movie. It’s not. Just as The Savages wasn’t a “message” movie about dementia – it ended up being a mournful look at how difficult it is to care for an elderly parent, especially if you didn’t have much of a relationship with them when they were alive. Private Life tells a story that’s rarely been told in cinema. Infertility stories usually are on the sidelines of the action, and are usually played for comedy. Private Life puts it front and center, as it is in the characters’ lives. I loved it.
For the “Endings” column in the October issue of Sight & Sound magazine, I wrote about the final shot in Hal Ashby’s Shampoo. It’s one of my favorite final shots in cinema. (I pitched the piece before Criterion made its announcement that it would be releasing Shampoo. Serendipitous timing. Something in the air. Shampoo in the air.)
As much as I’ve written here, as much as I love Shampoo, I’ve never written about that final shot until now. Thanks to Sight & Sound for the opportunity.