Myrna Loy - News Poster


Big Business Girl

What does a working girl have to do to get ahead, when all she has in her favor is an incredible face, a lavish wardrobe, and a pair of legs to make any executive wolf howl? Loretta Young juggles two egotistical swains, while Joan Blondell shines as an enticing all-pro homewrecker.

Big Business Girl


The Warner Archive Collection

1931 / B&W / 1:37 flat Academy / 74 min. / Street Date September 14, 2017 / available through the WBshop / 21.99

Starring: Loretta Young, Frank Albertson, Ricardo Cortez, Joan Blondell, Frank Darien, Dorothy Christy, Oscar Apfel, Judith Barrett, Mickey Bennett, George ‘Gabby’ Hayes, Virginia Sale.

Cinematography: Sol Polito

Film Editor: Pete Fritch

Written by Robert Lord, story by Patricia Reilly & H.N. Swanson

Produced and Directed by William A. Seiter

Let’s hear it for the Warner Archive Collection’s voluminous vault of early ’30s Warners, MGM and Rko entertainments, which has given us a real education about this era of filmmaking.
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Stephen Fishbach’s Survivor Blog: It's All About the Aquadump

Stephen Fishbach’s Survivor Blog: It's All About the Aquadump
Stephen Fishbach was the runner-up on Survivor: Tocantins and a member of the jury on Survivor Cambodia: Second Chance. He has been blogging about Survivor strategy for People since 2009. Follow him on Twitter @stephenfishbach.

Erik Reichenbach is a former two time Survivor Fan/Favorite and Comic Book Artist. Follow him on Twitter: @ErikReichenb4ch

“All the threats that are around, I would like to keep them around, because they are shielding me.”

Tony Vlachos, Survivor: Game Changers

Poor Simone. You knew her days were numbered when she started talking about her aquadump.

Contestants on Survivor talk a lot
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1 of the Greatest Actors of the Studio Era Has His TCM Month

1 of the Greatest Actors of the Studio Era Has His TCM Month
Ronald Colman: Turner Classic Movies' Star of the Month in two major 1930s classics Updated: Turner Classic Movies' July 2017 Star of the Month is Ronald Colman, one of the finest performers of the studio era. On Thursday night, TCM presented five Colman star vehicles that should be popping up again in the not-too-distant future: A Tale of Two Cities, The Prisoner of Zenda, Kismet, Lucky Partners, and My Life with Caroline. The first two movies are among not only Colman's best, but also among Hollywood's best during its so-called Golden Age. Based on Charles Dickens' classic novel, Jack Conway's Academy Award-nominated A Tale of Two Cities (1936) is a rare Hollywood production indeed: it manages to effectively condense its sprawling source, it boasts first-rate production values, and it features a phenomenal central performance. Ah, it also shows its star without his trademark mustache – about as famous at the time as Clark Gable's. Perhaps
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Edwards Pt 2: The Pink Panther Sequels and Famous Silent Film Era Step-grandfather Director

'The Pink Panther' with Peter Sellers: Blake Edwards' 1963 comedy hit and its many sequels revolve around one of the most iconic film characters of the 20th century: clueless, thick-accented Inspector Clouseau – in some quarters surely deemed politically incorrect, or 'insensitive,' despite the lack of brown face make-up à la Sellers' clueless Indian guest in Edwards' 'The Party.' 'The Pink Panther' movies [1] There were a total of eight big-screen Pink Panther movies co-written and directed by Blake Edwards, most of them starring Peter Sellers – even after his death in 1980. Edwards was also one of the producers of every (direct) Pink Panther sequel, from A Shot in the Dark to Curse of the Pink Panther. Despite its iconic lead character, the last three movies in the Pink Panther franchise were box office bombs. Two of these, The Trail of the Pink Panther and Curse of the Pink Panther, were co-written by Edwards' son,
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The Forgotten: George Archainbaud's "Hotel Haywire" (1937)

Really, I mean Preston Sturges' Hotel Haywire, because nobody's too interested in George Archainbaud, a Paramount contract director who had been directing for 20 years without helming a really memorable film (Thirteen Women, an uncomfortably racist pre-Code with Myrna Loy, is as exciting as it gets, and even that one is remembered chiefly for featuring the girl who threw herself off the Hollywood sign), He would continue for another 20, moving from B-westerns into TV westerns, without making anything else of particular note.Sturges wrote the script as part of his plan to get a long-term contract at Paramount. To particularly appeal to the suits there, he filled the story with roles for Paramount stars such as Mary Boland, Charles Ruggles, Fred MacMurray and Burns & Allen, none of whom were necessarily famous enough to carry a movie, but whose combined star-power might make an attractive investment for studio or future ticket-buyers.
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The Truth About Zardoz, Plus Nine Other Things I Learned At Tcmff 2017

Just back from the 2017 TCM Classic Movie Festival with a few thoughts and thoughts about thoughts. I certainly held my reservations about this year’s edition, and though I ultimately ended up tiring early of flitting about from theater to theater like a mouse in a movie maze (it happens to even the most fanatically devoted of us on occasion, or so I’m told), there were, as always, several things I learned by attending Tcmff 2017 as well.

1) TCM Staffers Are Unfailingly Polite And Helpful

Thankfully I wasn’t witness, as I have been in past years, to any pass holders acting like spoiled children because they had to wait in a long queue or, heaven forbid, because they somehow didn’t get in to one of their preferred screenings. Part of what makes the Tcmff experience as pleasant as it often is can be credited to the tireless work
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“Ghost in the Shell” and a Brief Herstory of Whitewashing

Scarlett Johansson in “Ghost in the Shell

During its opening weekend, the anticipated yet controversial film “Ghost in the Shell” took home a measly $19 million at the domestic box office. Both domestically and abroad, it’s expected to lose over $60 million total, and that’s got to hurt.

Perhaps you’ve heard of the whitewashing controversy that has followed the film since its casting choices were first announced. Perhaps, by now, you’ve even heard of its bizarre narrative ending that, as The New York Times puts it, “isn’t just appropriation, but obliteration.” That said, we imagine you, too, may have the same question that family and friends have constantly asked us: Why does Hollywood continue to miscast race — and what makes studios think they can successfully get away with it?

The “easy” answer is that, historically, they always have — we don’t need to tell you about Mickey Rooney’s Mr. Yunioshi in “Breakfast at Tiffany’s” or Katharine Hepburn in the Oscar-nominated “Dragon Seed.” What’s more difficult is understanding when (and why) yellow face and whitewashing became synonymous with, as Paramount domestic distribution chief Kyle Davies less-than-tactfully just put it, finding a balance between “honoring source material and [making] a movie for a mass audience.” And, just like all matters in Hollywood, this becomes even more complicated when one considers where female stars, female autonomy, and racial tropes specifically fit into this conversation.

Yellow Face: Romance, Desire, and Fear

Mary Pickford in “Madame Butterfly

Though the western image of the Asian woman on the screen may have shifted across spectrums of time, its historical construction has assured its perpetual relationship with the notion of yellow peril. In her book “Romance and the ‘Yellow Peril,’” Gina Marchetti historically traces yellow peril as a 19th-century European concept that, according to Marchetti, “combines racist terror of alien cultures, sexual anxieties, and the belief that the West will be overpowered and enveloped by the irresistible, dark, occult forces of the East.”

In early Hollywood, this was best represented by cinematic romances between the “moral white man” and the “eroticized native woman.” The only way to “properly” reconstruct taboo interracial romances on the screen was through — you’ve guessed it — yellow face. With a little makeup and prosthetics, Caucasian actresses could transform into Asian characters who, more often then not, embodied the supposed seductiveness of the East.

Ironically, Paramount Pictures adopted this tactic as early as 1915 by casting Mary Pickford in “Madame Butterfly.” Pickford’s Japanese character falls in love with a westernized man, and their “racially forbidden” love ends in tragedy. The application of yellow face acts as a reassurance to western ideals: Though, narratively, The Butterfly may obtain the affections of the westernized man, the audience needs not distance itself from this taboo. In reality, it is a love between a Caucasian man and a Caucasian woman, rather than a “true” mixing of the West with the “alien cultures” of the East.

Myrna Loy in “The Mask of Fu Manchu

Yellow face is also arguably responsible for the now-infamous Hollywood image of the erotic Asian woman. Amidst an Asian persona, actresses were able to embrace and reveal a sexual identity that would otherwise be deemed immoral. In a way, some saw this as a rare career opportunity to show something different — and doesn’t that remind you of Johansson’s contemporary comments regarding her own casting?

Before she was the beloved Mrs. Charles of “The Thin Man” series, Myrna Loy embraced this “opportunity” throughout many of her silent films, including “The Crimson City” (in which she was chosen over Anna May Wong), “Thirteen Women,” and “The Mask of Fu Manchu.” Opposite a yellow faced Boris Karloff in “The Mask of Fu Manchu,” Loy plays a “half-naked nymphomaniacal sadist who reaches orgasmic heights when torturing white males.” Thus, in Loy’s case, an “Asian mask” is used to explore both racial stereotypes and female sexual desire — but at a distance guaranteed and controlled by whiteness itself.

Gale Sondergaard and Bette Davis in “The Letter

The 1940s was also full of “rare opportunity” — not for artistry, but rather for country. William Wyler’s “The Letter” stands as one of the first filmic examples of “reaffirmed” yellow peril that persisted throughout World War II. This is seen through deliberate ramifications related to both the script and whitewashed casting — interestingly enough, in the 1929 original, the lead Asian protagonist is actually played by an Asian actress.

Gale Sondergaard’s role as a sinister wife (to Bette Davis’ “other woman”) is far from Pickford’s Butterfly or the overly sexualized Loy — she is truly a figure to be feared and despised, as opposed to conquered or desired. Sondergaard’s character is described as an “oriental villainous snake” deliberately juxtaposed against Davis’ “westernized and pure” feminine woman. Not only is the trope of the “bad Asian” employed and intensified, but the choice to hire a Caucasian actress is directly tied to the the anti-Asian sentiment of the Second World War. Sadly, this 1940s need for audience “familiarity and comfort” speaks volumes to where we still are today.

It’s 2017… We’re Still Talking About This?

Credit: Mdsc

For better or worse, this early industrial history offers a brief glimpse of understanding into this, frankly, screwed up Hollywood mentality.

Just last year, the Media, Diversity, and Social Change (Mdsc) Initiative at USC’s Annenberg School for Communication and Journalism found that “at least half or more of all cinematic, television, or streaming stories fail to portray one speaking or named Asian or Asian American on screen.” Over 17 million people in the United States identify as Asian or Asian American. That’s over five percent of the country’s population!

The idea that actually casting Asian characters in Asian roles would repel a mass audience is a dated, Euro-centric cop-out. Newsflash: we don’t always need a Swinton or Stone.

Ghost in the Shell

As for Johansson, The Mary Sue said it best: “she’s one of those few female stars who can open a film, make a huge paycheck, and has a certain level of decision-making power.” Now, let us start by saying that, obviously, we at Women and Hollywood love nothing more than watching other women succeed.

That said, like her predecessors before her, the color of Johansson’s skin grants her a level of star power and opportunity that few others could access or afford. The mere fact that she even can consider her “Ghost in the Shell” character “identity-less” speaks to her racial privilege. Her comments related to this film have consistently (and frustratingly) proven that this history—that whitewashing enables actresses to safely explore personas or opportunities they wouldn’t seek otherwise — is very much ingrained into the media’s industrial mindset.

If producers and studio executives refuse to evolve their ways, then it is up to those of us who have power (like Johansson) to fight for greater intersectionality. Women must lift other women up, and white actresses, in particular, must learn to see past personal opportunity and instead acknowledge that some “unique experiences” simply do not belong to them.

Ghost in the Shell” and a Brief Herstory of Whitewashing was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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Mary Tyler Moore, TV Icon, Dies at 80

Mary Tyler Moore, TV Icon, Dies at 80
Television great Mary Tyler Moore, the beloved star of “The Dick Van Dyke Show” and “The Mary Tyler Moore Show,” died Wednesday in Connecticut, her publicist confirmed. She was 80.

“Today, beloved icon, Mary Tyler Moore, passed away at the age of 80 in the company of friends and her loving husband of over 33 years, Dr. S. Robert Levine,” read the statement from Mara Buxbaum, her longtime rep. “A groundbreaking actress, producer, and passionate advocate for the Juvenile Diabetes Research Foundation, Mary will be remembered as a fearless visionary who turned the world on with her smile.”

The vivacious brunette performer transformed the image of women on television first as Van Dyke’s sexy, vulnerable wife Laura Petrie and then as single career girl Mary Richards in her own series. Her work in the two series brought Moore five Emmy Awards, in 1965, 1966, 1973, 1974 and 1976. She won another Emmy for 1993 TV special “Stolen Babies.
See full article at Variety - Film News »

‘Doctor Strange’ and Beyond: IndieWire’s Critics Debate Hollywood’s Diversity Problems

  • Indiewire
‘Doctor Strange’ and Beyond: IndieWire’s Critics Debate Hollywood’s Diversity Problems
IndieWire’s Eric Kohn, Hanh Nguyen, David Ehrlich, and Kate Erbland traded notes on “Doctor Strange,” whitewashing, and the current political climate for filmmaking.

In a year where the possibility of electing the first woman president requires the kind of tooth-and-nail brawls usually reserved for wartime, there may be no better movie to epitomize the desire for change in a sexist society than “Ms. 45.” Settling into Abel Ferrara’s 1981 B-movie during the soft launch of Brooklyn’s new Alamo Drafthouse theater last week, I found myself entranced by an angry and decidedly modern revenge movie.

This scrappy tale of a mute woman (Zoe Lund, in a remarkable debut role from a career tragically cut short by drugs) has the ultimate payoff. Persecuted in the workplace, she survives a rape encounter by killing her rapist, taking his gun, and going on a rampage murdering sexist pigs across the grimy alleys of New York City.
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Emma Stone and Damien Chazelle on the Magic and Alchemy of ‘La La Land’

Emma Stone and Damien Chazelle on the Magic and Alchemy of ‘La La Land’
Telluride, Colo. — Director Damien Chazelle and actress Emma Stone are fresh off a trip to the Venice Film Festival, where “La La Land” opened the 73rd annual event last week. Oxygen containers in hand (the altitude can be a killer here), they’re soaking up the Telluride mountain air promoting the film as it continues to dazzle audiences here.

The two sat down with Variety to discuss the tricky tone of the film, the logistics of pulling it off and the alchemy of finding the right pair of actors to sell the experience.


Damien, it seems like only a few filmmakers each year are brave enough to travel from Venice to Telluride to Toronto during this stretch. I heard you were very excited about having that experience, though.

Damien Chazelle: Yeah, and it’s also that selfish thing of, “Well, I’ve never been to the Venice Film Festival or the Telluride Film Festival.
See full article at Variety - Film News »

Gene Wilder: 12 Things You Didn’t Know About His Early Career

Gene Wilder: 12 Things You Didn’t Know About His Early Career
Before he achieved movie superstardom in the 1970s, Gene Wilder did Brecht on Broadway, Shaw in Louisville, and “One Flew Over the Cuckoo’s Nest” with Kirk Douglas on the Great White Way.

Wilder, who died Aug. 28 at the age of 83, also once pocketed $7,000 in an arbitration case waged by the Writers Guild of America West because of four little words: “A Mel Brooks Film.” Here are 12 intriguing facts from Wilder’s early career, as documented in the pages of Variety.

Wilder’s first mention in Variety came in the March 7, 1961, edition, in a review of an Off Broadway play directed by Mark Rydell. “Roots” was described as a “seamy” English family drama with not much going for it, per our critic. But Wilder was “well-cast as the thick-skinned son.” 1963 was a busy year for Wilder. In March he co-starred with Anne Bancroft in a Broadway production of Bertolt Brecht
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King of hearts by Anne-Katrin Titze

Maïwenn on Louis Garrel: "I chose Louis because I wanted him to bring his poetic side, his offbeat side." Photo: Anne-Katrin Titze

In Maïwenn's My King (Mon Roi), co-written with Etienne Comar (Haute Cuisine), Vincent Cassel, ever more charming, sinister, and unpredictable, as Georgio, morphs before your eyes on screen. And that says a lot when you remember him as Jean-François Richet's shape-shifting Jacques Mesrine or the wild Otto Gross in David Cronenberg's A Dangerous Method. Standing Tall director Emmanuelle Bercot is Tony, an independent, educated, attractive woman, who falls utterly and completely in love with him.

Louis Garrel: "If I put myself into the skin of Vincent Cassel, as in the skin of John Malkovich …" Photo: Anne-Katrin Titze

The two have the lighthearted bond of Myrna Loy and William Powell until suspicions cloud the skies as they did for Joan Fontaine when she realizes
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The Top Ten Funny Ladies of the Movies

The recent box office success of The Boss firmly establishes Melissa McCarthy as the current queen of movie comedies (Amy Schumer could be a new contender after an impressive debut last Summer with Trainwreck), but let us think back about those other funny ladies of filmdom. So while we’re enjoying the female reboot/re-imagining of Ghostbusters and those Bad Moms, here’s a top ten list that will hopefully inspire lots of laughter and cause you to search out some classic comedies. It’s tough to narrow them down to ten, but we’ll do our best, beginning with… 10. Eve Arden The droll Ms. Arden represents the comic sidekicks who will attempt to puncture the pomposity of the leading ladies with a well-placed wisecrack (see also the great Thelma Ritter in Rear Window). Her career began in the early 1930’s with great bit roles in Stage Door and Dancing Lady.
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Olivia @ 100: Airport '77

Don't get on the plane! It's a Disaster Movie!Team Experience is looking at highlights and curios from the filmography of Olivia de Havilland for her Centennial this Friday. Here's guest contributor Sean Donovan...

Airport ’77, the third film of the Airport franchise, capitalized on the immense success of the 70s disaster movie craze in the twilight of its years. Just one year later in 1978, the critical and box office failure of Irwin Allen’s The Swarm showed how much audiences had sobered up, no longer excited by disaster movies and more interested in openly mocking them, based on their cheesy acting and overwrought destruction (a movement chronicled by Ken Feil in his worth-the-read book Dying for a Laugh: Disaster Movies and the Camp Imagination). So if something feels lacking and obligatory about Airport ’77- in which a botched hijacking lands a Boeing 747 in the ocean, the passengers struggling to get
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Luise Rainer as O-Lan in The Good Earth This Weekend at Webster University

“Hunger makes men mad.”

The Good Earth (1937) screen this Friday through Sunday (May 13th-15th) at Webster University’s Moore Auditorium (470 E. Lockwood, Webster Groves, Mo 63119). The film begins each evening at 8:00.

They just don’t cast enough Caucasian actresses in yellow-face drag anymore! Katherine Hepburn in Dragon Seed, Myrna Loy in The Mask Of Fu Manchu, and (my favorite) French Hammer starlet Yvonne Monlaur in The Terror Of The Tongs all proved that a little scotch tape behind the eyes is all it takes to change one’s ethnicity! German-born actress Luise Rainer won her second consecutive Oscar (her first was for The Great Ziegfeld) in 1937 for playing O-Lan in The Good Earth opposite Paul Muni as her husband Wang Lung. Producer Irving Thalberg had originally planned on casting Chinese-American actress Anna May Wong as O-Lan but once Muni was hired, he knew the Hays Office would not
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Co-Stars Who Should Have Worked Together More Than Once

  • Cinelinx
Sometimes actors are cast in a movie together and instantly display great onscreen chemistry. You look at them and think, “These two should work together again. They make a good team.” Sometimes they do reunite and it leads to a series of great screen collaborations, but sometimes they don’t and we’re left wishing the pair would have made more films together.

Back in the days of the old ‘Studio System,’ movies studio execs would look for actors who had good on-screen chemistry and repeatedly cast them together in films. This was called “packaging”, and it lead to the frequent teaming of people like Fred Astaire & Ginger Rogers; William Powell & Myrna Loy; Humphrey Bogart & Lauren Bacall; Boris Karloff & Bela Lugosi; Bob Hope & Bing Crosby; Errol Flynn & Olivia de Havilland; Nelson Eddy & Jeannette MacDonald; etc., etc.

The ‘Studio System’ is long gone and so is “packaging”. It’s a pity
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The Best Picture Oscar winners that had sequels




More Best Picture Oscar winners have had sequels than you may think. This lot, in fact...

There’s still an element of snobbery where sequels to certain films is concerned. Whereas it’s now almost compulsory to greenlight a blockbuster with a view of a franchise in mind, it’s hard to think of most Best Picture Oscar winners being made with a follow-up in mind. Yet in perhaps a surprising number of cases, a sequel – or in the case of Rocky, lots of sequels – have followed.

These cases, in fact…

All Quiet On The Western Front (1930)

Followed by: The Road Back

Don’t be fooled into thinking sequels for prestigious movies are a relatively new phenomenon. Lewis Milestone’s 1930 war epic All Quiet On The Western Front, and its brutal account of World War I, is still regarded as something of a classic. A solid box office success,
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Interview: ‘Big Stone Gap’ Writer/Director Adriana Trigiani to Appear at Chicago Screening

Chicago – One of the truest aphorisms ever uttered is that “you can take a person out of a small town, but you can’t take the small town out of them.” Veteran novelist, TV/film writer and now director Adriana Trigiani took that eternal truth and created a film tribute to her heritage in “Big Stone Gap” (2015). Loyola University in Chicago will have a special screening of the film, with an appearance by Ms. Trigiani afterward (via Skype), on Monday, February 8th, 2016 (details below).

Adriana Trigiani celebrated her Italian roots and Appalachian background first in the “Big Stone Gap” series of novels, which began in 2000, and currently is on its fourth book. This was after she had a successful career in television writing, working on “The Cosby Show,” “A Different World,” and “City Kids” (for ABC/Jim Henson productions). Besides the Big Stone Gap book series, she has also authored
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From the Terrace

This is as sexy as Hollywood pix got in 1960. John O'Hara's novel about class snobbery and the drive for success posits Paul Newman as a moody go-getter. In glossy soap opera fashion, his silver spoon-fed bride Joanne Woodward morphs into an unfaithful monster. Some adulterous relationships are excused and others not in this glossy, morally rigged melodrama. In other words, it's prime entertainment material. From the Terrace Blu-ray Twilight Time Limited Edition 1960 / Color / 2:35 widescreen / 144 min. / Ship Date January 19, 2016 / available through Twilight Time Movies / 29.95 Starring Paul Newman, Joanne Woodward, Myrna Loy, Ina Balin, Leon Ames, Elizabeth Allen, Barbara Eden, George Grizzard, Patrick O'Neal, Felix Aylmer. Cinematography Leo Tover Art Direction Maurice Ransford, Howard Richmond, Lyle R. Wheeler Film Editor Dorothy Spencer Original Music Elmer Bernstein Written by Ernest Lehman from the novel by John O'Hara Produced and directed by Mark Robson

Reviewed by Glenn Erickson

1960 saw the release of
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Fassbender Becomes Only Fourth Double Best Actor Winner: L.A. Critics Awards

'Son of Saul': Géza Röhrig in the Los Angeles Film Critics Awards' Best Foreign Language Film winner. Charlotte Rampling, Michael Fassbender: Los Angeles Film Critics Awards 2015 The Los Angeles Film Critics Association's 2015 winners were announced on Sunday, Dec. 6. Lafca is one of the two most influential critics groups – i.e., those whose decisions get at least some mainstream media mileage – in the United States. The other one is the much older New York Film Critics Circle, followed by the National Society of Film Critics. Five-decade movie veteran Charlotte Rampling,[1] who'll turn 70 next Feb. 5, was one of the day's big winners. Besides being selected Best Actress by the Los Angeles Film Critics for her performance in 45 Years, Rampling was also the 2015 Boston Society of Film Critics' pick. Earlier this year, Andrew Haigh's marital drama costarring Tom Courtenay (Doctor Zhivago, The Dresser) earned her the Silver Bear for Best Actress at the Berlin Film Festival.
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