Vivien Leigh's birthday

Ninety-nine years ago today, in Darjeeling India, as the sun began to set, a baby girl was born to Ernest and Gertrude Hartley. She was named Vivian Mary, and she would grow up to become the  famously beautiful and talented actress Vivien Leigh.

In my opinion, nobody has ever been more aptly named than Vivien (except maybe Grace Kelly). Vivien always had zest for life, needed very little sleep, and was always alert and energetic. And indeed, the name Vivian is of Latin descent, meaning 'full of life'.

Above all else though, Vivien Leigh was an actress, and if you ask me, a thumping good one at that. Unfortunately for us, she much prefered acting on the stage to films. Couple this with ill health, and the result is a rather small filmography- nineteen films, to be exact. Naturally, I think she's great in all of them, however, I present to you five of the films she made that you really ought to see.

Sidewalks of London (1938) In this film, Vivien plays Libby (short for Liberty), a semi- charming but none-too-likeable street urchin who joins a team of buskers led by Charles Laughton, falls in love with Rex Harrison, and gets famous. It's pre- Scarlett O'Hara, but you can see her cutting her teeth being manipulative and not very nice.

 That Hamilton Woman (1941) Teamed up for the third and final time on film, Vivien and Laurence Olivier played real life lovers Emma Hamilton and Lord Nelson. In period costumes and in beautiful black and white cinematography, Vivien Leigh has never looked more ethereal. And boy, do she and Laurence Olivier smoulder.

A Streetcar Named Desire (1951)   For the defining portrayal of Blance DuBois, Vivien won her second Academy Award as best actress. Watching her psyche slowly unravel and come to a shattering head is always unnerving and ultimately devastating.

Gone With the Wind ((1939) For many people, this is THE Vivien Leigh performance. And rightly so. It is stellar, and is one of the greatest performances ever captured on film. I want to find somebody who's never seen this film and show it to them just so I can watch their reactions.










Waterloo Bridge (1940) For me, this is Vivien Leigh's greatest performance. I love how understated and subtle she is here. I also think it was a really smart choice to do this film after Gone With the Wind, as the character is the complete opposite of Scarlett O'Hara. Not to mention that the soft black and white cinematography makes her look absolutely luminous. I really can't laud this movie enough. I really, really, can't.


And, just as an added bonus, I present to you, my favorite picture of Vivien Leigh ever.

Happy Birthday, beautiful Vivien.

A Symphony of Horror

Tomorrow night, I am making yet another journey to the Frank Banko Alehouse Cinema at the SteelStacks in Bethlehem. I will be seeing a screening of F.W. Murnau's 1922 horror classic Nosferatu, eine Symphonie des Grauens. It is being featured as part of the Not So Silent Cinema series. This means that they will be screening the silent film while a live orchestra accompainment.

It is going to be incredible.

Next  up on my roster:
Monday, October 22: The Graduate
Wednesday, October 24: Frankenstein/Bride of Frankenstein double feature.
Wednesday, October 31: The Shining

A treat

The best Judy Garland film I'll bet you've never heard of

Everybody is familiar with Judy Garland (whether or not they know it). The Wizard of Oz is probably the most seen movie of all time. Equally iconic is her portrayal of Esther Blodgett/Vicki Lester in 1954's A Star is Born. And of course, she's known for reigning the MGM musical and her "let's put on a show!" movies with Mickey Rooney.
My favorite Judy Garland movie, however is none of these powerhouses. Rather, it's a little movie from 1945 called The Clock, and it's a complete gem. Directed by Vincente Minnelli, The Clock is a simple story about a soldier and a girl during World War II.

Robert Walker plays Corporal Joe Allen, a young soldier from Indiana who comes to New York City on leave.  He meets Alice Mayberry (Judy Garland) and they spend the day together, watching sea lions at the Central Park zoo and taking in art at a museum.

After meeting for dinner, they realize that they've fallen for each other. Breakfast with new friends, an aged milkman and his wife, make them decide to get married. Unfortunately, getting married takes a while, and Joe's time is running out before he has to go overseas. Finally though, they meet the justice of the peace. With trains loudly rushing past draining out the marriage vows, and witnessed only by the cleaning lady, Joe and Alice say their "I Dos" and become Mr. and Mrs.

Afterwards, they eat their wedding supper at a little diner. Alice finally breaks down in devastation at her disappointment at such a bust of a wedding. It is further rubbed in when, walking past a church, a beautiful wedding is breaking up, complete with friends, family, and a happy couple. Joe and Alice enter the church which is empty, save for the altar boy extinguising candles, and quietly, recite their wedding vows to each other.

The next morning, Joe departs for war with the other soldiers, and Alice, along with the other soldiers' girls, go on with her life and hopes for the best.

There's literally nothing that I don't enjoy about this movie. Sure, the storyline isn't particularly believeable (Really? You fall in love with someone after one day? How does Judy Garland know that Robert Walker isn't going to end up a crazy, murderous freak?) but when it comes down to it, who really cares?

Robert Walker plays the small-town boy with a wide-eyed naivete that is completely endearing. When you get involved, it's really no surprise that Judy's character falls for him. His childlike wonder at everything is adorable, from his confusion at having to buy a bus pass "I guess he (the bus driver) thought I was tryin' to get away with something" to his observation of museums "You know, you can really learn a lot in a museum." He plays the role with such honesty, it's tough not to want to reach out to him.

It seems that people never give Judy Garland enough credit as an actress. She's still esteemed as the greatest musical performer of all time (and rightly so) but she was a really fine dramatic actress. The Clock proves it. She doesn't sing a note, she doesn't take one step in time to music. Still, she shows so much emotion, it's astounding. Not the innocent here, Judy's character is a streetwise girl who is kind of hard-bitten and semi world-weary. It's a really nice change of pace.

Another great thing about The Clock's cast is New York City. Yes, that's right, I included New York City in the cast. Never before have I seen such a fantastic use of a city as a character. It brings Joe and Alice together, it tears them apart, it reunites them.
There's a really fantastic shot of Joe standing on the sidewalk, looking up at the buildings. The tops are always just out of frame, and the shadows cast obscure his face. Watching The Clock, it's really tough to remember that it was shot entirely on the MGM lot- even Penn Station and the Central Park zoo were replicas.  

There's lots of great MGM stock players in this movie as well. James Gleason plays Al Henry, the milkman who helps Alice and Joe decide that their getting married is a must.
My favorite is Keenan Wynn as the drunk. In a performance that was surely improvised, he yells, shouts, and harasses everyone he sees, in particular a well-dressed elderly lady (played by Angela Lansbury's mother, Moyna MacGill) daintilly eating a pastry. As she becomes more and more harried, she speeds up the eating of her pastry until she's literally shoveling forkfulls of it in her mouth and getting tangled up in her pearl necklace. Not only is that the funniest scene in the movie, I daresay that it's one of the best comedy bits ever filmed.

I first saw The Clock in 2007, during a birthday salute to Judy Garland on TCM. I instantly fell in love with it, and I have been ever since.

So here's your mission: Get yourself out to a Barnes and Noble, shop.tcm.com, or Amazon, and get yourself a copy. The Clock is a great treat for any fan of Judy Garland, classic cinema, and wartime romance.

 

Happy Birthday, Hitch

As I wrote earlier, this week marked the 113th anniversary of the birth of Alfred Hitchcock. To celebrate, ArtsQuest screened three of his most beloved and enduring films: North by Northwest, Psycho, and Vertigo.

I attended North by Northwest on Monday with my friend Larry. After purchasing my usual movie theater treat of Hot Tamales and a Coke, we made our way into the theater. As usual, I was pleasantly surprised by the large turnout. We found our seats (at the top row, of course) stretched out our legs, and waited in anticipation for the movie to begin. Finally, the lights dimmed, and Bernard Herrmann's pulsing score filled the room. As the movie progressed, I could feel the steam filling the room from Cary Grant and Eva Marie Saint's devastating chemistry and sexual tension. Seriously, these two wrote the book.

Although I've seen this movie many a time, I'm still completely involved every time I watch it. During the plane chase, I get nervous, and I (along with a few other people) screamed when the plane collided with the truck and exploded.

On Tuesday, I was escorted to Psycho by my friend Joey. This is my second favorite Hitchcock film, so I think I was most excited for this one. Plus, Anthony Perkins still has the ability to scare the hell out of me. That last shot of him always gets me every time. I've heard people say that Psycho is overrated, but I respectfully disagree wholeheartedly. I think everything about it is spot on, from the combination of Bernard Hermann's schizophrenic score, Saul Bass's frantic title sequence, and, of course, the casting of Anthony Perkins as Norman Bates. Psycho is true brilliance.  Afterward, a film professor from Lehigh University led a discussion about the gender roles, sexuality, and duality potrayed in Psycho. It was pretty insightful and the audience was engaged and really got into the participation, which was nice to see.

Wednesday night rounded out with Vertigo. Honestly, this is one of my least favorite of Hitchcock's films. I just never got the hype over it...maybe I'm just not smart enough, but I just never understood it. I mean, I get the plot, but the ending still confuses me to this day.

After the end of the movie, a discussion was again led about gender roles, sexuality, obsession, and masochism. It was also touched upon that Vertigo was recently voted the greatest film of all time, thus beating out Citizen Kane, by Sight and Sound and the semi-controversy/uproar/hooplah that caused. Again, the discussion was pretty interesting, and the audience was willing to participate.

Whenever I see a classic film in a theater, I am always surprised by the incredible turnouts. The ages always range from the very young (when I went to see Singin' in the Rain, I saw a couple of kids that had to be kindergarten age) to the old. I like to imagine that the older couples I see went to see the film when it was first released, possibly on a first date. It's really nice to know that these films still have an audience and that people are passing on their love of classic cinema to future generations. Here's hoping they never stop.

The Master of Suspense

There are exicting goings- on. August 13 marks the anniversary of the birth of one of the most influental and probably the best known director in history- the Master of Suspense, Alfred Hitchcock. In celebration of what would have been Hitch's 113 birthday, ArtsQuest in Bethlehem is celebrating for three nights. And what better way to toast Alfred Hitchcock's birth than to screen three of his best and most beloved classics?


Monday night kicks off the festivities with a screening of 1959's North by Northwest. Starring Cary Grant, Eva Marie Saint, and James Mason, it's a tale of mistaken identity and spy-versus-spy crossings and double crossings.

Tuesday night is kind of the night I'm looking foward to most. It's Psycho, and it's Hitchcock's most famous film. It's also still seriously scary, so I expect to hear a couple of screams. Or at least audible gasps.

The celebration concludes Wednesday night with Vertigo, a film that people fall over themselves praising but one that I just can't figure out. Maybe Wednesday night I'll have an epiphany and finally understand it. I do have a bit of a soft spot for Vertigo however, as it was the first Hitchcock film I had ever seen.

And, just for a bit of fun, let's pretend that this was a weeklong event, and I were in charge of picking the films to screen. I think it would look something like this:

Monday: North by Northwest (1959)
Tuesday: Psycho (1960)
Wednesday: Rebecca (1940)
Thursday: Shadow of a Doubt (1943)
Friday: Strangers on a Train (1951)
Saturday: The Man who Knew too Much (1956)
Sunday: The Lodger (1927)


Question: What is/are your favorite Hitchcock film/ films?

A true story

This was the dream I had last night:

During a summer family get-together, I was sitting at a wooden picnic table in my backyard with my uncle Jimmy, my brother, and my parents' friend Ricky. I wandered over to my driveway where I found Laurence Olivier, John Gielgud, and my friend Emily. There was a fire burning in a trash can, and standing next to it, Larry treated us to a short performance of Richard III (which just so happens to be my favorite of his Shakespeare performances).

 After applauding, I, for reasons unbeknownst to me, climbed atop the Saab in my garage and then went into the kitchen. I found Larry in there as well. He was wearing a yellow t shirt that was at least two sizes too small for him, and it had that German hearts-and-sparrows design on it. (Perhaps he knew I have a fondness for terribly ugly clothing and was attempting to appeal to me?)

I greeted him with a squeal of "Larr Bear!" and jumped into his arms. (Yes, he did catch me). After a nice tight hug, I told him he did good. He smiled and thanked me. I sensed that something was amiss, because I asked him if he was okay. He responded with "Yeah, I'm just tired."

Now here's where things get a bit muddled. I can't remember what happened exactly, but he and I somehow ended up making out furiously on the squeaky, ugly, blue flowery sofa in my living room. To my disapointment, he was not the best kisser, but I was making out with Laurence Olivier, so who was I to complain?

We were interrupted by the sounds of Street Fighting Man by The Rolling Stones (previously one of my favorite songs by them). I wasn't sure where it was coming from but it was only getting louder. To my dismay, I realized that it was coming from my alarm clock. I woke up in my bed, chest pounding, and mixed feelings of "Wow, what a super rad, albeit very odd dream" and "Son of a bitch, why couldn't I have at least sealed the deal? Goddamn Rolling Stones."

As I got out of bed and ready for work, I swore I could hear a quiet giggle from behind me. Looking in my mirror, a picture of Vivien Leigh taped to my wall reflected back at me. I knew that, wherever she was, she somehow knew what I had dreamed about, and was laughing her ass off. And I'll bet Larry was right next to her.

Grabbing my keys off the dresser, I muttered "Fuck off, Vivien" and shut the door.

Eight

Coming in at number eight is Audrey Hepburn. An actress who is remembered more so for being an icon than an actress, a la Marilyn Monroe. But if you ask me, Audrey Hepburn was a hell of an actress and too bad people don't quite know that. Of course she was beautiful, and glamorous, and stylish, and her speaking voice could melt your heart, but above all else, she was a real actress.


Her most famous film is of course 1961's Breakfast at Tiffany's. In this film, Audrey plays the free-spirited and (seemingly) carefree Holly Golightly, a young call girl living in New York City. Always on the lookout for a nice millionaire to marry, she doesn't notice that her downstairs neighbor is absolutely crazy about her.

Originally, the character was written with Marilyn Monroe in mind, and author Truman Capote apparently threw a fit when Audrey was cast instead. But it was for the best. Audrey took a character who was originally hard-bitten and honestly, quite unlikable, and gave her a softer, more vulnerable core surrounded by a tough shell. She tries her best to act like everything is wonderful when, quite frankly, it isn't. I'm not as sure that Marilyn Monroe would have been able to give Holly more complex layers as Audrey was able to.

In 1964, Audrey beat out all other competition for the role of Eliza Doolittle in the film version of My Fair Lady. (Competition included Elizabeth Taylor and Julie Andrews). Directed by George Cukor, Audrey deftly played the ultimate ugly duckling role with sympathy and a bit more depth than originally written.

But  the movie that I remember Audrey Hepburn most for is 1953's Roman Holiday. She plays a princess on the lam who falls in love with newspaperman Gregory Peck. Since I don't believe in spoilers, I won't give anything away, except that Roman Holiday has one of my favorite movie endings ever.

When Roman Holiday was being made, Audrey Hepburn was not a big star. As such, her original credit was supposed to come after the title of the film. However, Gregory Peck realized that she was absolute magic and insisted that her name come above the title, after his. After Roman Holiday was released, the whole world realized Audrey's magic and fell under her spell. She would be awarded with film's highest honor for her performance in the film, the Academy Award as Best Actress of the year.

But above all the movies and the great style, the beautiful, quiet speaking voice, the elegance and poise, what made Audrey Hepburn so special was her heart. She retired and joined forces with UNICEF to help children in poverty and war ravaged areas that nobody else dared go near. Long before it was fahionable for celebrities to champoin a cause, Audrey Hepburn brought awareness and spoke for those who couldn't help or speak for themselves. Even today, nearly twenty years after her death, the Audrey Hepburn Children's Fund continues to aid those in need. She was also posthumusly awarded the Jean Hersholt Humanitarian Award in recognition of her outstanding charity work and in honor of a remarkable woman.

You're a rank sentimentalist

As you may or may not know, last evening, I attended a special 70th Anniversary screening of Casablanca. Upon entering the theater, I was instantly struck by how many people there were. I mean, the theater looked just about full, and even after my friend and I took our seats, people were still filing in. And the best part about it all was the range of ages that were in attendance. I noticed that some people had brought along their kids, which made me want to high-five them. Hell, I wanted to high-five everybody that was there.

The lights dimmed, the room hushed, and the audience was treated to an introduction to the film by none other than the host of Turner Classic Movies, Robert Osborne. The introduction included some background information about the film, reminiscences by those who worked on it, and some famous faces discussing what Casablanca means to them.

And so the movie began. Watching it, I felt almost as if I was seeing it for the first time. And at the end, I felt so satisfied. It's been a long time since I've felt that way after seeing a movie. My favorite part was the collective applause (and I may or may not have spotted a standing ovation out of the corner of my eye) when the picture ended. Although I was kind of hoping for some applause at the beginning, when the title came upon the screen,  some applause for Humprey Bogart and Ingrid Bergman's first appearances, and for Victor Laszlo's rousing rendition of La Marseillaise, alas, there was none.

The only setback was when some asshat's telephone rang...and he actually answered it and had a conversation! However, there was basically nothing that could have went down during that screening that would have dampened my spirits. I paid $11.50 for my ticket, but honestly, and I don't really give a damn how lame this sounds, it was a totally priceless experience. What a night.

Next week, they are screening the 1927 silent classic Wings, starring Clara Bow. I may or may not be going.

Here's looking at you, kid

I am very excited. Tomorrow night, I am going to have the immense pleasure of seeing one of my favorite  movies on the big screen. In celebration of its 70th anniversary, Casablanca is returning to the screen for a special, one night only event. The official anniversary was in March, but due to popular demand, Fathom Events, in partnership with Turner Classic Movies, is rescreening the film. Good news for me, since I didn't make it to the first one.

This is the second time that I am aware of that a classic film is returning for a one night only engagement. A few months back, West Side Story was re -released, but unfortunately the closest participating theater was all the way in Harrisburg, so I didn't get to make it to that. Needless to say, I still brood over that one.

For those of you keeping score at home, you may or may not remember that over the summer I had my very first experience seeing a classic film on the big screen with Diabolique. http://im-into-leather.blogspot.com/2011/08/out-and-about-film-viewings.html  Being from Smalltown, Pennsylvania, there arent't that many chances to get out and catch a screening of an old, beloved classic (L.A-ers, how I envy you). And, unfortunately for me, most of the chances I have had to see classic films in public have usually managed to be thwarted some way or another. (I was supposed to see West Side Story at the park outside, and they couldn't get the sound working. I was supposed to see Some Like it Hot in the courtyard of the Sun Inn, and got the times mixed up). So this is huge for me, and come tomorrow afternoon at work, I know I'm going to be bursting at the seams. 

There's nothing like seeing a movie that you love on the big screen, the way it's supposed to be seen, and I'm very glad to add Casablanca to the list of beloved films that I have been lucky enough to see again in a theater.

Stay tuned for a follow-up!

Number Nine

Naturally beautiful. Understated. Oscar winning. Remarkable. Unforgettable.  These adjectives come to mind when I think of actress number nine on this list: Ingrid Bergman.

Born on August 29, 1915 in Stockholm Sweden, Ingrid Bergman knew from an early age that she wanted to be an actress. She used to dress up in her mother's clothes and stage productions for her own amusement. She attended the Royal Dramatic Theater School (the same school Greta Garbo attended) and appeared in a handful of plays before starring in some Swedish films.

In 1939, producer David O. Selznick brought her to America to star opposite Leslie Howard in a remake of her 1936 Swedish film Intermezzo. Titled Intermezzo: A Love Story, the film brought Ingrid instant fame in America. She was a natural in front of the camera. Her performance was subtle and understated, and absolutely effective. Such became the usual for Ingrid.

In my opinion, Ingrid Bergman's best performance is in the 1944 film Gaslight. Playing the role of a woman being driven mad by her diabolical husband (played  by Charles Boyer). In what could have been played extremely over the top, Bergman played it down and only became hysterical in the last few moments of the film, making her hysteria more realistic.She won the Academy Award for her performance.

Her most famous role however, is as Ilsa Lund in the immortal, beloved wartime classic Casablanca. Torn between Humphrey Bogart and Paul Henried, her performance is subtle, understated, and touching. I know I've mentioned this before, but it bears repeating. My favorite scene is when Victor Lazlo (Paul Henried) leads the patrons of Rick's Cafe in a rousing rendition of La Marseillaise. Watch Ingrid's face here. Her eyes are nervous for his safety, but she can't hide her sense of pride in him. It's a beautiful performance. And as a sidenote, can I just point out how beautiful she looks in this film? She is absolutely luminous. (The black and white cinematography doesn't hurt here).

I think what I admire most about Ingrid Bergman was the lack of pretense about her. She was always herself and refused to compromise herself for anyone. She used very little makeup and wouldn't allow her teeth to be capped. She wouldn't be made over into someone she wasn't, and if she made enemies along the way, so be it.

Although Ingrid Bergman wasn't constantly turning out great performances, when she was good, she was perfect.

 

Rock on, Ingrid.

Is this not the sweetest picture ever?

Favorite Actress Countdown

Coming in at number ten on my list of favorite actresses is Drew Barrymore.  I've been a fan of hers since probably the sixth grade or so, and so I suppose that has a lot do with my liking her so much, but then again, I think she's quite proven that she is fantastically talented. Granted, she's not somebody that you're going to watch and shout about her performances every time, but every so often, she delivers. And when she's good, she's perfect. I do think that she's more of a "movie star" than an "actress" but she is quickly approaching actress status.

Lionel, Ethel, and John Barrymore

Drew Barrymore is the granddaughter of John Barrymore and the great niece of Lionel and Ethel Barrymore. All three were brilliant performers. Drew certainly inherited that. But the Barrymore family had long been plagued by demons of drug addiction and alcoholism. John, in particular, was a very bad alcoholic who never truly recovered from it. He would die in 1942, a shadow of his former great self. His son, Drew's father, John Barrymore II, also suffered from alcoholism and drug addiction. Sadly, Drew herself become an alcoholic and cocaine addict before the age of fifteen.

She had gotten her big break at the age of six, playing Gertie in Steven Spielberg's E.T: The Extra-Terrestrial. Afterward, Drew became one of the most popular child stars of the 1980s. I think her success came from the ability to play wide eyed moppet roles with genuine talent. With new found success came opportunity. And opportunity released the Barrymore demons. At nine years old, Drew started drinking. At ten, she started smoking pot, and at fourteen became a cocaine addict.

After being released from rehab at sixteen, finding work was a struggle. Drew was stuck in the rut of being too old for children's roles but too young to be a leading lady. The best she could do was small, supporting character roles in low-budget films.

In 1998, Drew teamed up with Adam Sandler for the 80's themed romantic comedy The Wedding Singer. Commercially  successful, Drew was back in the spotlight. She then founded her own production company, Flower Films, and in 1999, produced her first film, Never Been Kissed.  Again, it was a commercial success and Drew Barrymore established herself as a premier romantic comedy star.

50 First Dates. Can just say I love her hair in this movie?

Many romantic comedies make up Drew Barrymore's filmography. However, she hasn't forgotten her roots as a dramatic Barrymore. It's almost as if people forget that she's a damn fine actress too. Remember Riding in Cars With Boys? She played a character who went from fifteen years old to her mid-thirties.  I think that it requires a skilled person to be able to pull that kind of role off. But Drew did. And she was brilliant in it.
There was also Confessions of a Dangerous Mind. Drew played the supporting role of the long-suffering yet infinitely steadfast wife of game show host/alleged CIA hitman Chuck Barris.

However, no other role has displayed Drew Barrymore's dramatic prowess better than the 2009 HBO film Grey Gardens. She played "Little Edie" Beale so well that I found myself forgetting that I was watching an actress in a movie, and not the real thing. Being quite a fan of the original Grey Gardens documentary, I was somewhat wary of watching this film. However, I was absolutely blown away by this film. Drew completely immersed herself in the character so well that it's as if she crawled inside the skin of Little Edie. She did more than portray her; She became her, and won a much deserved Emmy award for Best Actress. I have no doubt that had Grey Gardens been made for a major studio, Barrymore would have been nominated for a Best Actress Academy Award, and would have been quite a strong contender.

I have no doubt that Drew Barrymore will only continue to rise as an actress, and would not be at all surprised if an Oscar comes her way.

Film Viewings: The King Has Returned

On Sunday, a couple of friends from work and myself went out to our local movie theater to see one of my favorite movies, The Lion King---In 3D! Now, I'm not really a 3D freak. I mean, it's fun, and the Terminator 2 3D attraction at DisneyWorld is awesome, but other than that, 3D just really isn't my thing. But when I heard that The Lion King would be re released in 3D, I jumped at the chance to see it.

Although I had spent nearly fifteen dollars on a ticket, it was so worth it for me. Movies are made to be watched on a huge screen, in deafening surround sound, in a darkened theater filled with people all sharing the experience of enjoying a movie. Although I have seen The Lion King more times than I can probably count, watching it in the theater was like seeing it for the first time.

From the opening sequence of the sun rising over the African Savannah accompanied by that incredible African chorus, I was amazed by the realism, the beauty, the colors and sound. I was moved to tears. Not to mention Circle of Life is such a beautiful song.

Mufasa's death is even more devastating on the big screen. I don't think I've ever cried harder watching a movie. As I've said before, I have seen this movie many, many times, and Mufasa's death still affects me as if I had never seen it before.I know I've written this before, but I'm quite sure that Mufasa dying is quite possibly the most devastating event in film history. I mean, come on, how can one not watch Simba crawl under Mufasa's paw without bursting into hysterical sobs?

The stampede leading to Mufasa's death was incredible to watch. With the surround sound, you could almost feel the rumbling of the approaching wildebeest. Their thundering hooves were much more menacing as they leaped out of the screen.

The best part of the film in 3D was the climactic fight between Simba and Scar. As if it's not cool enough in 2D being in slow motion and all, the 3D element really rocked here. Scar leaping out of the flames has always been a great part, but in 3D he leaps out of the flames and into your face. It looked awesome.

It's always great to see a beloved movie on the big screen in all its glory. Watching The Lion King (in 3D) in a darkened movie theater, next to friends, sharing such a great movie with a bunch of people, young and old,  that I don't even know, was such a beautiful and rich experience that I will look back upon in years to come and cherish.

Out and About: Film Viewings

Last weekend, my friend Corey and I went to South Side Bethlehem to catch a screening of one of my all-time favorite horror films, 1955's Diabolique. Directed by Henri-Georges Clouzot, the film stars Vera Clouzot and Simone Signoret as the wife and mistress of a sadistic headmaster of a boys' school. Fed up with his abuse, the two women team up to get rid of him, once and for all. They drown him and dump his body in the school swimming pool. But when the pool is drained, the body is no longer there. And students claim to be seeing him around the school.

One of the reasons I love this film so much is the build up of suspense and unease throughout. This is not one of those horror films where things jump out and go boo. It keeps you guessing long after the movie has ended. You come to realize that you can't trust or believe anybody. After it's ended, you'll find yourselves looking over your shoulder and jumping at shadows. In my opinion, it's one of the finest horror films ever made, and I think everyone should see it. And be sure to avoid the remake.

Don't be devils! Don't ruin the interest your friends could take in this film. Don't tell them what you saw. Thank you for them.

I'm very Russian, you know.

July 20th, 2011 marked the 73rd anniversary of the birth of Natalie Wood. With a resume consisting of 56 films and three Academy Award nominations, I find it sad how few people seem to remember her today. I think she is one of the most underrated actresses and I can't for the life of me figure out why.

The first time I saw Natalie Wood was in what is probably her most famous film, West Side Story. I was in either eighth or ninth grade, and I remember being struck by how pretty she looked and what a good actress she was. In retrospect, West Side Story was one of my first viewings of classic film and I'm not sure that it's hyperbolic to say that it's a film that changed my life. The library in town had a pretty good selection of movies to take out, and being that West Side Story was among them, I would borrow it quite a few times a month. To this day, whenever I think of summertime, I think of staying up late, sipping on a Vitamin Water, and watching West Side Story. I then decided to learn everything I could about Natalie Wood and see as many of her films as possible.

So, in honor of what would have been her 73rd birthday, I present to you my favorite Natalie Wood films...


Miracle on 34th Street (1947) While this wasn't Natalie Wood's first film, it was the film that really brought her to people's attention. She played Susan Walker, a girl who had been raised not to believe in Santa Claus. However, when she meets a kind elderly man named Kris Kringle who claims to be Santa Claus, she slowly starts to believe. I generally don't like kids in films. I feel like they're usually trying way too hard to impress and they come off as unnatural. However, Natalie Wood was just the opposite- there's nothing fake about her performance. She played the role of a wannabe cynic struggling with a child's innocence. I know for a fact that I've said this about other performances, but I honestly believe that had another child played the role, it wouldn't have been as good. As I've said before, I know that's not an unoriginal statement, but what the hell. It's true.

Rebel Without a Cause (1955) When Rebel Without a Cause is mentioned, one doesn't immediately think of Natalie Wood. After all, it is James Dean's picture- he owns it. But here lies Natalie Wood's greatness- she is able to stand back and let Dean do his thing, while putting in a great performance of her own. Here is another case of great casting. A film about teenagers complaining about how their parents don't understand them is hardly something one would want to watch. But Rebel Without a Cause is different. You feel the actors' angst, anger, and sadness and can relate to it. Thanks to the performances by the young leads, this isn't your typical whiny teen movie. It's something really remarkable.

Gypsy (1962) A lot of things are great about Gypsy. Natalie Wood. Lyrics by Stephen Sondheim. Music by Jule Styne. The dialogue ("Ole, everybody! My name's Louise. What's yours?"). Mostly Rosalind Russell. Who else could have played Mama Rose as well as Rosalind Russell? Nobody, that's who. But I digress. Natalie Wood was more than a match the formidable Roz. She is just as good throughout the film. Playing the role of Louise, the girl who would grow up to be the most famous burlesque dancer in history, Gypsy Rose Lee, Natalie shines. Perhaps it's due to the fact that she was playing a part not too unlike her own life. Her own mother was a failed actress and really pushed Natalie hard throughout her childhood. Throughout her life, Natalie's mother would be an overbearing presence. And so, Natalie's performance is very tongue-in-cheek. Not many people are able to laugh at themselves. Natalie Wood could. That quality really shines through in this film.

West Side Story (1961)  As I've previously mentioned, this was the film that introduced me to Natalie Wood. As such, I've always had a soft spot for West Side Story. But rightfully so. It's one of the finest films ever made, and in my opinion, the best musical ever made, behind Singin in the Rain. Although Natalie didn't do her own singing, she still gave a magnificent performance, despite being so awfully miscast. Again, here is yet another testament to her talent. She wasn't a singer, she wasn't a professional dancer, and she sure as hell wasn't Puerto Rican, however her portrayal of Maria is one of the most beautiful and touching performances captured on film, particularly her speech to the warring gangs at the film's conclusion:  "How do you fire this gun, Chino? Just by pulling this little trigger? How many bullets are left? Enough for you? And you? All of you, you all killed him. And my brother, and Riff. Not with bullets and guns. With hate. Well I can kill too. Because now I have hate. How many can I kill, Chino? How many? And still have one left for me."  Such a performance is, in my opinion, Oscar worthy, but it doesn't really matter, because that same year, Natalie Wood also made:


Splendor in the Grass (1961) This is my absolute favorite Natalie Wood film. Co-starring Warren Beatty and directed by Elia Kazan, Natalie has never been better. She plays Wilma Dean "Deanie" Loomis, a high school senior hopelessly in love with Arthur "Bud" Stamper. The couple assumes they will marry after high school, but peer pressure, parental pressure, and the struggle between sexual expression and repression eventually drive them apart and sends Deanie into a downward mental spiral. This is, in my opinion, Natalie Wood's crowning moment as an actress and while she was nominated for a Best Actress Academy Award, she lost to Sophia Loren in Two Women. If you ask me, this is the worst injustice and biggest mistake the Academy has ever made. (Yes, even worse than giving Sandra Bullock an Oscar). Splendor in the Grass is one of the best commentaries on growing up and the pressures to please parents while trying to explore and experience life for ourselves, and the double standard between the sexes when it comes to sex. All in all, it is a beautiful, tragic, bittersweet, supremely enjoyable movie.

Unfortunately, when you mention the name Natalie Wood to most people today, if you don't get a "Huh?" you will most likely hear about her death. Yes, it was tragic. Yes, it was untimely. The only person who knows for sure exactly how it happened cannot tell us. There are speculations and theories, but they have never been proven. Neither have they been dis-proven. As cliche as it sounds, I think people need to stop focusing so much on how she died and remember how she lived. Of course I would love to see the case solved and if it were to turn up that something fishy did happen, I would love to see justice for Natalie. However, I would rather watch Natalie Wood doing what she did best and worry less about how she left us. To quote Natalie in Splendor in the Grass, "Though nothing can bring back the hour of splendor in the grass, of glory in the flower, we will grieve not; rather find strength in what remains behind"

And what great treasures Natalie Wood left behind.

Happy (belated) birthday, Natalie.

Of course he had a name. His name was Edward.

 

Edward Scissorhands, 1990

Edward Scissorhands is one of my favorite movies ever. It stars one of my favorite actors, was directed by Tim Burton, one of my favorite directors, has a beautiful score by Danny Elfman, and is one of the best movies to come out of the 90s. 

After starring in 1989's Cry Baby, Johnny Depp had finally proven that he wasn't just "That hot guy on 21 Jump Street". He was next cast in director Tim Burton's new project- a story about a man who has scissors for hands. Created by an inventor, Edward (the man's name) is incomplete due to the sudden death of the inventor. He lives all alone in the inventor's castle until one day, struggling Avon saleslady Peg Boggs (Diane Weist) finds him and decides to take him to her house in Suburbia. At first, Edward is accepted by the neighborhood, but eventually circumstances change and he becomes an outcast once more. 

At the heart of this movie is Johnny Depp's performance as Edward. Deprived of human interaction, he is completely innocent to the ways of suburbanites. He is wide-eyed, curious, childlike, naive, trusting, gentle and self-conscious all at once. Depp puts such sensitivity into the character and you can't help falling in love with him. He brings to the role both humor and pathos; scenes when Edward is attempting to do normal things such as dressing or eating off a fork for instance make you laugh but break your heart- you know these attempts at normality are futile- no matter how hard he tries, he will never be normal and fit in. 

The second essential performance of the film is Winona Ryder's. As the Bogg's daughter Kim, she is at first terrified and repulsed by Edward and is mortified to have any association with him. As the film progresses however, she develops a warm, protective feeling toward Edward which eventually grows into love. Ryder is such a natural performer; she is so sincere and such a fabulous actress. (I'm not sure whatever happened to her). 


Other notable cast members include Dianne Weist as Peg Boggs, the Avon Lady, Alan Arkin as Bill Boggs, and Anthony Michael Hall as Kim's brawny jerk boyfriend, Jim. And a cameo by Vincent Price is a treat for a fan of classic horror films.

I love Edward Scissorhands because I feel like it speaks to everybody. All people have something about them that makes them different and stand out from everybody else. I feel like it's a movie that all people can relate to; Everyone just wants to be accepted for who they are. This is a film that definitely speaks to our hearts and emotions and is a true work of art from a true artist.