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On the day a U.S. appeals court lifted an injunction that blocked a Mississippi “religious freedom” law – i.e., giving Christians extremists the right to discriminate against gays, lesbians, bisexuals, transgender people, etc. – not to mention the publication of a Republican-backed health care bill targeting the poor, the sick, the elderly, and those with “pre-conditions” – which would include HIV-infected people, a large chunk of whom are gay and bisexual men, so the wealthy in the U.S. can get a massive tax cut, Turner Classic Movies' 2017 Gay Pride or Lgbt Month celebration continues (into tomorrow morning, June 22–23) with the presentation of movies by or featuring an eclectic – though seemingly all male – group: Montgomery Clift, Anthony Perkins, Tab Hunter, Dirk Bogarde, John Schlesinger, Tennessee Williams, Gore Vidal, Arthur Laurents, and Jerome Robbins. After all, one assumes that, rumors or no, the presence of Mercedes McCambridge in one of the films is a mere coincidence. And all this comes the day after TCM showed Vincente Minnelli's Tea and Sympathy (1956), in which homosexuality is implied on screen, as no one – including, to some extent, Deborah Kerr – seems to quite understand why John Kerr is so different “from the other boys.” Coincidence or no, earlier today TCM showed John Huston's Southern Gothicky Reflections in a Golden Eye (1967) and Michael Curtiz's political drama/soap opera Flaming Road (1949). In the former, military officer Marlon Brando goes madly in lust with enlisted man Robert Forster, who himself would rather spend some quiet time watching Elizabeth Taylor do her thing. There's nothing explicitly “gay” about the latter, but Joan Crawford as a carnival dancer turned social activist in the American South just about qualifies as the “Q” in the relatively new and extended Lgbtq[uestioning] label. Once again, perhaps it's a mere coincidence that the overblown Gypsy (1962), based on the life and times of Louise Hovick a.k.a. stripper Gypsy Rose Lee, was released the same year as Robert Aldrich's What Ever Happened to Baby Jane?, which could be taken as a Grand Guignol sequel to Gypsy: Vaudeville star Baby June (later known as June Havoc) drops out, which then leads Jewish stage mother Rose (a highly theatrical Rosalind Russell in the role played by Ethel Merman on stage) to push the other daughter, Louise, who, as an adult (Natalie Wood), becomes a sensation in a (Christian Right-approved) stripper act. Arthur Laurents wrote the musical on which the Mervyn LeRoy-directed Gypsy is based. Leonard Spigelgass wrote the screenplay. In the “sequel,” which frequently pops up on TCM, Bette Davis plays the haggardly middle-aged Baby Jane, former vaudeville child star who later flopped in Hollywood movies while her sister (Joan Crawford) thrived in the medium. Murder, mayhem, an impromptu beach party, and a hair-raising rendition of “I've Written a Letter to Daddy” ensue. John Schlesinger's Billy Liar (1963) is an interesting, socially conscious psychological drama starring Tom Courtenay as a maladjusted young man who lives both in a small town in northern England and in his own dream world. Just as effective as Courtenay is a very young Julie Christie. Schlesinger would hit the big time two years later, with Darling, which earned him a Best Director Academy Award nomination and Julie Christie the Best Actress Oscar. Schlesinger would take home the Best Director Oscar statuette for Midnight Cowboy (1969), one of the iconic – and borderline gay-themed – films of the 1960s. His third and final Oscar nomination in the Best Director category would be for another partially gay-themed effort, Sunday, Bloody Sunday (1971), in which Peter Finch, Glenda Jackson, and Murray Head are involved in a sexual/romantic triangle. Suddenly Last Summer (1959) was a major box office hit because of its role in breaking Production Code-imposed Hollywood taboos, among them homosexuality, cannibalism, and pimping out your wife and your mother so you can get laid. Joseph L. Mankiewicz directed a cast that included an outstanding Katharine Hepburn as the mother, Elizabeth Taylor as the distraught wife/widow about to be lobotomized, Montgomery Clift as a psychiatrist named Cukrowicz, Mercedes McCambridge as a greedy relative of Taylor's, and the hairy legs of Julián Ugarte as Sebastian, the guy who meets a fate just as final as – but more colorful than – death. Storyteller Gore Vidal and Tennessee Williams were credited for the screenplay based on Williams' one-of-a-kind play. Three years after Suddenly, Last Summer, Montgomery Clift would be back playing a psychiatrist attempting to uncover the (sexually charged) mysteries of the human mind in John Huston's Freud. Where was Montgomery Clift when you needed him? Anthony Perkins stars in the title role in Alfred Hitchcock's box office hit Psycho (1960), a horror thriller about a mama's boy that doesn't quite live up to its reputation – well, apart from the shower scene, at least not when it comes to thrills and scares. Curiously, Perkins, in one of the most iconic roles in film history was not shortlisted for that year's Best Actor Academy Award. Janet Leigh, however, was in the running for Best Supporting Actress; also nominated was the film's director: his fifth and final nod. Leigh lost to Shirley Jones, as another good-girl-gone-bad in Elmer Gantry, while Hitchcock lost to Billy Wilder for The Apartment. For the record, the five Best Actor nominees were: Jack Lemmon for The Apartment. Trevor Howard for Sons and Lovers. Spencer Tracy for Inherit the Wind. Laurence Olivier for The Entertainer. And winner Burt Lancaster for Elmer Gantry. Robert Wise and choreographer Jerome Robbins' West Side Story (1961) has some fantastic dance numbers, but the highly stylized approach to the material is detrimental to the film, which at times looks like a filmed – and not infrequently poorly acted – stage play. Academy members certainly felt differently, as West Side Story went on to win 10 Oscars, including Best Picture and, for the first time, Best Directors. (The second time was when Joel and Ethan Coen won for the 2007 thriller No Country for Old Men.) Russ Tamblyn, and Oscar winners (in the best supporting actor/actress categories) George Chakiris and Rita Moreno are phenomenal dancers, but when it comes to acting, Moreno is the show-stopper. Natalie Wood (singing voice by Marni Nixon) and Richard Beymer are the two good-looking Romeo and Juliet leads. Former screenwriter and cinematographer Ronald Neame directed just about all types of movies, from The Horse's Mouth and The Prime of Miss Jean Brodie to The Poseidon Adventure and Meteor. I Could Go On Singing (1963) qualifies as both mother-son drama and romantic musical, with Judy Garland and Dirk Bogarde finding things in common in early 1960s London. Garland is excellent in her final big-screen role (The Valley of the Dolls would not pan out for her), but the movie itself isn't quite as effective as it could have been considering the talent involved. Two years before I Could Go On Singing, Dirk Bogarde starred in Basil Dearden's Victim, the first British movie to openly deal with homosexuality – and its criminalization in the United Kingdom. Besides, six years before Victim, Bogarde was a gay wife murderer (as Margaret Lockwood eventually finds out) in Lewis Gilbert's curious thriller Cast a Dark Shadow. Just as curious was Bogarde's real-life insistence that he and his longtime companion Anthony Forwood (formerly married to Glynis Johns) were just good pals (and manager and client). Directed by Don Taylor – no relation to either Robert Taylor or Elizabeth Taylor, but the latter's husband-to-be in Father of the Bride – Ride the Wild Surf (1964) is a perfectly watchable youth movie featuring a group of good-looking performers, among them Fabian, Shelley Fabares (Nanette Fabray's niece), I Dream of Jeannie star Barbara Eden, and Tab Hunter, whose candid autobiography (co-written with Eddie Muller), Tab Hunter Confidential: The Making of a Movie Star, is a must-read. Tab Hunter, by the way, was at one point in a relationship with Psycho star Anthony Perkins. Directed by Jeffrey Schwarz, the documentary Tab Hunter Confidential was released in 2015. This post is currently being revised and expanded. Please check back later. 2:30 Pm Reflections In A Golden Eye (1967). Dir.: John Huston. Cast: Elizabeth Taylor. Marlon Brando. Brian Keith. Julie Harris. Robert Forster. Color. 109 mins. Letterbox Format. 6:15 Pm Flamingo Road (1949). Dir.: Michael Curtiz. Cast: Joan Crawford. Zachary Scott. Sydney Greenstreet. B&W. 94 mins. 8:00 Pm Gypsy (1962). Dir.: Mervyn LeRoy. Cast: Rosalind Russell. Natalie Wood. Karl Malden. Color. 143 mins. Letterbox Format. 10:45 Pm Billy Liar (1963). Dir.: John Schlesinger. Cast: Tom Courtenay. Julie Christie. Wilfred Pickles. B&W. 98 mins. 12:45 Am Suddenly, Last Summer (1960). Dir.: Joseph L. Mankiewicz. Cast: Elizabeth Taylor. Katharine Hepburn. Montgomery Clift. Mercedes McCambridge. Albert Dekker. B&W. 114 mins. 3:00 Am Psycho (1960). Dir.: Alfred Hitchcock. Cast: Anthony Perkins. Janet Leigh. Vera Miles. John Gavin. Martin Balsam. B&W. 109 mins. Letterbox Format. 5:00 Am West Side Story (1961). Dir.: Robert Wise. Cast: Natalie Wood. Richard Beymer. Russ Tamblyn. Rita Moreno. George Chakiris. Color. 154 mins. Letterbox Format. 7:45 Am I Could Go On Singing (1963). Dir.: Ronald Neame. Cast: Judy Garland. Dirk Bogarde. Jack Klugman. Color. 99 mins. Letterbox Format. 9:30 Am Ride The Wild Surf (1964). Dir.: Don Taylor. Cast: Fabian. Shelley Fabares. Tab Hunter. Peter Brown. Barbara Eden. Susan Hart. Catherine McLeod. James Mitchum. John Anthony Hayes (as Anthony Hayes). Roger Davis. Color. 102 mins. This article was originally published at Alt Film Guide (http://www.altfg.com/). »
- Andre Soares
Author: Jo-Ann Titmarsh
The film opens with a boy running towards a purple hotel, calling out for his friends Moonee (Brooklynn Prince) and Scooty (Christopher Rivera). These two six-year-old rapscallions are off school for the summer and on the lookout for fun and games, one of which is to spit on newcomers’ cars at the neighbouring hotel. And that’s how they meet a potential new gang member in Jancey (newcomer Valeria Cotto). She’s all innocence and mild manners, and has the strong maternal presence of her grandma whereas the others are left to run wild. Moonee’s blue-haired and heavily tattooed mum Halley (Bria Vinaite) is little more than a girl herself and we can see where Moonee gets her manners and proclivity for swearing from. »
- Jo-Ann Titmarsh
To mark the BFI’s celebration of Dustin Hoffman’s 80th birthday this year we’ve put together a fantastic goody bag that any cinephile will love! As Dustin Hoffman, the versatile and ‘unlikely’ leading man, turns 80, we bring his best work back to the big screen. Highlights range from The Graduate to Tootsie, from Midnight Cowboy to Kramer v. Kramer. Contents include: A pair of tickets to part one and two of the BFI’s Dustin Hoffman season, a round of Dustin Hoffman themed cocktails for you and a friend courtesy of our friends at Honest Folk and a copy of The Graduate by Charles Webb. Told with wry, deadpan humour, this brilliant anti-establishment fable by Charles Webb was the basis for Mike Nichols’ acclaimed film starring Dustin Hoffman, and is a classic of the 1960s’ counterculture.
Taking place from 1 June – 28 July, BFI Southbank’s two month »
When Bradley Battersby was hired to head the undergraduate film department at Ringling College of Art and Design in 2009, the program was so small fellow professors on campus didn’t even know that it existed.
“We were pretty nimble, we had a new curriculum and it was a little bland,” says Battersby, who is being honored by Variety as Mentor of the Year, of those nascent days at the Sarasota school. “We had just gone through accreditation, and we had to change everything. I had to get the word out about it, the college didn’t even know we had a film program. They had tried before to get momentum, they had gone through two other department heads, but it was tough.
“Ringling was out in front in terms of making art with computers — in particular, its animation program grew up literally alongside Pixar — so they had tasted success and »
- Malina Saval
Noah Baumbach, Mistress America and Frances Ha director and co-director with Jake Paltrow of the Brian De Palma documentary De Palma, took the stage at the Bmcc Tribeca Performing Arts Center for a Tribeca Talks: Directors Series with Dustin Hoffman, who stars in Baumbach's latest, The Meyerowitz Stories alongside Emma Thompson, Adam Sandler, Ben Stiller, Elizabeth Marvel, Candice Bergen, Rebecca Miller, and Mickey Sumner.
Jane Rosenthal: "He's known for his roles in The Graduate, Midnight Cowboy, Lenny, Tootsie, Wag The Dog and so many others. But, of course, to me he will always be Mr. Focker." Photo: Anne-Katrin Titze
Jane Rosenthal, co-founder of the Tribeca Film Festival, first introduced the star of The Graduate by quoting from the actor's own notecards that she was given by him after he received the Film Society of Lincoln Center's »
- Anne-Katrin Titze
Read even just a couple of interviews with him and you’ll realize that James Gray — in his humor, candor, self-effacement, knowledge, and general kindness — is better at the process than almost anybody else. So I’d experienced twice over, and now a third time on the occasion of his latest picture, The Lost City of Z. Although I liked the film a whole lot upon seeing it at last year’s Nyff and found it a rich source of questions, our conversation proved too casual and genial to be intruded about with a query about sound mixing — which I, of course, just knew I’d ask before entering a hotel room and sitting at a tiny table, complementary chocolate cake between us, and realizing that my muse then and there was instead a question about Steven Soderbergh’s Twitter account.
It’s not every day you can bring it up, »
- Nick Newman
Pierce Brosnan, who stars in AMC’s new Western series The Son, recently opened up about losing his wife and daughter to ovarian cancer. Look back on People’s 1992 cover story on the British actor, as he reflected on his wife’s memory four months after her death — and the profound impact she had on his life.
When His Agent Phoned Pierce Brosnan in early March to tell him that his latest film, The Lawnmower Man, was a box office hit—a Brosnan first—the 39-year-old Irish-born actor remembers how he “whooped and hollered” with his two boys, Christopher, 19, and Sean, »
- People Staff
We can learn a number of things from Disney’s smash animated hit.
Crowning Disney’s Zootopia my favorite film of 2016 has earned me a reasonable amount of polite mockery among the film fan community. Granted, there was a high number of outstanding motion pictures released last year, but unlike the traditional Disney tropes we’ve seen in offerings like Frozen or Moana (often retooled emotional beats from their classic animation era), Zootopia was somewhat of a unique offering for audiences who paid attention. Before we proceed, let it be on the record that it won every best animated feature prize on the awards circuit, held a near-perfect score on Rotten Tomatoes and was included in the American Film Institute’s top 10 films of the year. Thus, I’d like to believe that several film experts out there also saw something more in what appeared to be another run-of-the-mill kids movie.
- Sleepy Skunk
I got a shiver of anticipation when I read the announcement on Monday that Steven Spielberg would direct “The Post,” a drama about The Washington Post’s role in exposing the Pentagon Papers, starring Tom Hanks as the fabled Post editor Ben Bradlee and Meryl Streep as publisher Katharine Graham. Set in 1971, the movie will center on the paper’s war with the White House over whether the Post had the right to publish the top-secret military documents — first leaked to The New York Times by Daniel Ellsberg — that charted the escalation and futility of the Vietnam War. I have no idea if Spielberg has been mulling this movie over for a while (the rights were bought by producer Amy Pascal last fall), but everything about the timing suggests that it’s no coincidence the announcement was made 45 days after the inauguration of Donald Trump. “The Post” is clearly a »
- Owen Gleiberman
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
A number of Oshima and Godard films play together in a new series.
Films from Keaton and Bergman have screenings.
Museum of the Moving Image
The Scorsese series continues with a The Color of Money–The Hustler »
- Nick Newman
With the dust settling from an Academy Awards unlike any other, we can turn our attention a bit to the results, as opposed to how the results were delivered/handled. This is something that’s probably best to take more time to think about, but I’m always fascinated by instant rankings. As such, I wanted not just to do the piece I always do on where the newest Best Picture winner stacks up all time, but also how the other main Oscar winners do. There will be expanded articles in the next month or so going over them in more detail, but for now, this is just a quick glance at where the new class ranks, all time. Before I get to Best Picture, which is clearly the big one, quickly I’d like to run down some of the other categories and how they stack up. That way, »
- Joey Magidson
Despite the Best Picture blunder stealing all the headlines, Moonlight’s win at Sunday’s Oscars has people talking for a different reason: It’s the first Lgbtq film to win the evening’s top prize.
The acclaimed coming-of-age story about a black gay boy received eight nominations at the 2017 Academy Awards, winning Best Picture, Best Adapted Screenplay and Best Supporting Actor for Mahershala Ali, the first Muslim actor to take home the coveted trophy.
In his acceptance speech, writer Tarell Alvin McCraney dedicated his adapted screenplay win “to all those black and brown boys and girls and non-gender-conforming who »
- Stephanie Petit
By: Carson Blackwelder
The time has arrived: the 89th Academy Awards will occur tomorrow, February 26, and we’ll finally know which films and which stars will take home those coveted statues. This is one of the most talked-about events on TV each year but, while everyone is excited for the spectacle and excitement of it all, that doesn’t mean that it doesn’t garner critics. Before you go complaining about the show, let’s educate you on some statistics.
With Jimmy Kimmel hosting the show on ABC — at 8 p.m. Et and 5 p.m. Pt, of course — we know we’re all in for quite the entertaining three-plus hours of glitz and glamour. It’s almost certain that La La Land will dominate the awards and it’s almost a given that a ton of people will utter Donald Trump’s name in some way. »
- Carson Blackwelder
Just because a movie or a celebrity wins an Oscar, that doesn't mean the win was deserved. While the Academy Awards are seen as the capstone to awards season -- and one of the highest honors in the business -- we all know that stars and movies get snubbed or overlooked all the time.
What's worse is when we look back at what did win, and shake our heads in confusion and disbelief. So, with the 89th Academy Awards just around the corner, let's take a look back over the show's illustrious history at a few times the Academy voters clearly made a mistake.
Watch: 2017 Oscar Awards Nominees: 'La La Land' Leads With 14 Nominations
1. How Green Was My Valley wins Best Picture at the 14th Academy Awards in 1942
20th Century Fox
Sunday’s Oscars 2017 are driven by two competing narratives. The question is which one will dominate the night.
We know Damien Chazelle’s retro musical “La La Land” (Lionsgate) will take home a slew of Oscars. But out of its record-tying 14 nominations, will it win five, like the BAFTAs? Seven, like its Golden Globes sweep? Or can it break the record of 11? (Three epic spectacles hold the record for most Oscar wins: “Titanic,” “Ben-Hur,” and “Lord of the Rings: Return of the King.”) “West Side Story” holds the record for a musical, with 10 wins.
Check my predictions below: By my “La La Land” tally, it’s nine.
The second story of the night: a dramatic course correction a year after #Oscarsowhite. The Academy actors’ branch nominated a record seven actors of color: familiar faces Octavia Spencer (Fox’s “Hidden Figures”) and Paramount’s “Fences” stars Denzel Washington (his eighth nomination »
- Anne Thompson
James Franco’s adaptation of John Steinbeck’s “In Dubious Battle” is currently in limited release, and it isn’t the only thing directed by the multi-multi-hyphenate you can watch right now. Franco has also directed the video for “Girls on T.V.,” the lead single from Tashaki Miyaki’s debut album “The Dream.” Watch it below.
Juno Temple (“Black Mass,” “Killer Joe,” “Maleficent”) stars in the video; Franco describes her role as “an innocent soul seeing Hollywood for the first time” in a statement. Full of words superimposed on the screen in neon letters, the video finds Temple’s cowboy hat–wearing newcomer strolling through Hollywood on a dark, dreamy night. The director lists “Midnight Cowboy,” “Fallen Angels” and Robert Redford’s “Electric Horseman” as influences on his latest endeavor.
Read More: ‘The Institute’ Trailer: »
- Michael Nordine
Clint Eastwood went back to the genre that made his name and deconstructed its tropes, making it current by incorporating the psychological impact of killing
The best picture race at the 1993 Oscars was one where many sides of 20th century machismo were examined – usually by groups of men shouting really loudly at each other. There was Scent of a Woman, where Al Pacino road tested his mid-90s “maximum volume” approach; Stephen Rea’s howls in the Crying Game; and Jack Nicholson’s bellows of pure testosterone in A Few Good Men. Merchant-Ivory’s rather more subtle Howard’s End featured mostly internal screams brought on by that most vexing of subjects: Edwardian class struggle. The winner, though, was a film in which toxic masculinity oozed out of the screen, delivered with a mix of muttering and barely raised voices.
Related: My favorite best picture Oscar winner: Midnight Cowboy
Continue reading. »
- Lanre Bakare
Continuing a series of Guardian writers’ all-time Academy picks, Gwilym Mumford explains why the 1970 winner remains a vital and progressive triumph
The Oscars best picture category has a long and ignoble history of favouring the inoffensive over the revolutionary – Citizen Kane lost out to How Green Was My Valley. Forrest Gump defeated Pulp Fiction. The Third Man, 2001: A Space Odyssey and Do The Right Thing failed to even be nominated for best picture. (It’s a cruel world when Crash can win the thing and that lot can’t even get a look in). As a rule, the Academy tends to be behind the times – #OscarsSoWhite is recent evidence of that.
All of which makes the decision to crown Midnight Cowboy best picture in 1970 seem, in retrospect, like such a welcome aberration. It was a rare moment when Hollywood saw the coming changes in cinema and, rather than ignore »
- Gwilym Mumford
Richard Dreyfuss once starred in an X-rated film. Let that sink in for a moment. Placing that into proper context reminds us that the 1970s were a very different time. The MPAA film rating system became effective in the U.S. on November 1, 1968. Six months later, John Schlesinger's Midnight Cowboy received an X-rating, and less than a year later, became the first (and only) X-rated film to win the Academy Award as Best Picture. Russ Meyer's Beyond the Valley of the Dolls earned the X-rating for its release in June 1970, Stanley Kubrick's A Clockwork Orange received it upon its original release in the U.S. in February 1972, Ralph Bakshi's animated Fritz the Cat was tagged with an X in April 1972, and Bernardo...
[Read the whole post on screenanarchy.com...] »
Jon Voight has clearly been listening to Donald Trump, and not just his ideas. In a video obtained by TMZ, Voigt gives the young people a piece of his mind in a very familiar cadence. “It’s been very serious and very destructive, this marching against the government and against the president. Very, very serious.”
Offscreen, a reporter can be heard asking about the Women’s March on Washington, and what Voight thinks about the First Amendment. “It is what the First Amendment’s about, but what was the march about? The march was about — it was against this government and against this presidency. Trying to denigrate his office and his presidency. And that’s no good.”
Read More: ‘The Leftovers’: Season 3 Teaser Trailer Promises The End is Near, But Don’t Worry Baby
In what essentially amounts to a crazy uncle wagging his finger in your face, the »
- Jude Dry
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