5 items from 2017
An exclusive video traces from Bonnie and Clyde to Mickey and Mallory and all stops between.
One of the most tried and true tropes in all of movie history is that of lovers on the run. They can be petty thieves, master criminals, wrongfully-accused innocents, chance acquaintances, fleeing victims, or escaping wards, but whatever the impetus they are two lovers, usually young, who take to the open road to get away from whatever unforgiving lives they come from. Films about lovers on the run differ from other duos in similar situations because no matter how wicked said lovers are, the fact that they are in love always generates empathy from an audience, even if we can’t connect to the impulses or decision-making skills of the characters, we can understand their motivation to avoid capture and stay together no matter what: they’re in love. And yes, sometimes that love is an anchor and sometimes it’s »
- H. Perry Horton
The upcoming mother-daughter comedy “Snatched” marks Goldie Hawn’s first film since 2002’s “The Banger Sisters.” To celebrate the end of Hawn’s 15-year sabbatical, the Quad will hold a retrospective of the Oscar winner’s films, a press release announced.
“No Hollywood actress in recent memory has come closer than Goldie Hawn to capturing the ebullience and whip-smart comic timing of the great screen comediennes of the ’30s and ’40s, a modern Joan Blondell or Carole Lombard,” the release states. “Though she won an Academy Award for one of her first roles (in 1969’s ‘Cactus Flower’), critics have tended to underestimate the depths of [Hawn’s] talent. The forthcoming film ‘Snatched’ marks her long-awaited return to the screen after a 15-year absence, and we’re celebrating the occasion with a greatest-hits retrospective, a veritable masterclass in the delicate art of cinematic comedy.”
It’s great that Hawn’s contributions to cinema are being recognized. However, while researching the Golden Goldies films as well as Hawn’s entire filmography, we noticed the actress has never worked with a female film director. From what we can tell, she has only collaborated with a woman director once, on a 2013 episode of the kids show “Phineas and Ferb.” Sue Perrotto co-directed the ep.
This is disappointing, but not a complete surprise. Last year Cosmopolitan published a story detailing how many big-name actors have never worked with a woman film director. Among them are Sean Connery, Sylvester Stallone, Ben Stiller, Matt Damon, Tom Cruise, and Tobey Maguire. And to be fair to them and Hawn, there are plenty of actresses who have never appeared in a woman-helmed film. Shailene Woodley, for example, has not appeared in a feature film directed by a woman
Still. We wish both male and female power players would follow Jessica Chastain’s lead. “I’m looking to work with a female filmmaker every year,” she told Variety. “That’s my goal. They’re not given the same opportunities so if I have any influence in choosing a film or a script or finding a director I’m absolutely going to make a difference. That doesn’t mean I’m excluding men — it means I need some balance in my life.”
And she’s achieving it; Chastain has worked with female directors like Kathryn Bigelow, Liv Ullmann, and Susanna White. Her most recent collaboration with a woman director is Niki Caro’s “The Zookeeper’s Wife.”
The Golden Goldies retrospective will be May 6–11 at the Quad in New York City. The featured films and their synopses are below, courtesy of Quad Cinema.
“Death Becomes Her”
Robert Zemeckis, 1992, 104m, U.S., 35mm
Sun May 7 & Mon May 8
When glamorous narcissist Meryl Streep steals her fiancé Bruce Willis, Hawn finds revenge in an elixir of youth (and immortality) supplied by a seductively devilish Isabella Rossellini. Rivalry escalates to murder as Hawn and Streep battle it out in the land of the undead in this cult black comedy about all-consuming vanity.
Hugh Wilson, 1996, U.S., 103m, 35mm
Mon May 8
Spite never sleeps in this gleefully vindictive comedy about getting even and the bonds of sisterhood. Hawn stars opposite Bette Midler and Diane Keaton as a once-acclaimed actress plagued by ageism and out for revenge against her ex-husband and his perky new muse. But acrimony eventually gives way to a new sense of liberation, culminating in an ever-endearing rendition of Lesley Gore’s anthem of female independence.
Garry Marshall, 1987, U.S., 106m, 35mm
Wed May 10
Wertmüller’s “Swept Away” reimagined as big studio farce, with Hawn’s shrill heiress mistreating blue-collar carpenter Kurt Russell, who then proceeds to enact romantic revenge after she’s afflicted with amnesia. Despite the retrograde sexual politics, the chemistry is palpable and the comic timing immaculate.
Howard Zieff, 1980, U.S., 109m, 35mm
Wed May 6 & Thur May 11
After husband Albert Brooks dies on their wedding night, spoiled rich girl Hawn is convinced by military recruiter Harry Dean Stanton to join the U.S. Army, where she comes up against a tough-as-nails C.O. Eileen Brennan. Both Hawn and Brennan were nominated for Academy Awards in this beloved box-office hit.
Jay Sandrich, 1980, USA, 100m, 35mm
Tue May 10 & Thu May 11
Hawn hits her comedic stride in this irresistible Neil Simon farce as a characteristically zany public defender torn between district attorney husband Charles Grodin and her ex, Chevy Chase, a writer charged with bank robbery. Things escalate towards a fever pitch when she decides to represent him in court.
Hal Ashby, 1975, U.S., 110m, Dcp
Mon May 8 & Wed May 11
The dream team of Ashby, screenwriter Robert Towne, and actor-producer Warren Beatty set their biting farce and undisputed ’70s classic on the eve of Nixon’s 1968 electoral landslide, with over-sexed, in-demand, and increasingly vexed hairdresser Beatty juggling frustrated girlfriend Hawn, taxing client Lee Grant, ex-girlfriend Julie Christie, and potential business partner Jack Warden as America lurches to the right.
Steven Spielberg, 1974, U.S., 110m, 35mm
Sat May 6 & Mon May 8
After losing their baby son to the state, small-time crooks Hawn and William Atherton snatch him right back and go on the run, with seemingly every law enforcement officer in Texas in hot pursuit. Spielberg’s first feature refines the technical mastery of Duel, but Hawn’s performance as an exasperated, manically determined mother gives this picture a more resonant pathos.
Jonathan Demme, 1984, U.S., 100m, 35mm
Sun May 7 & Thur May 10
When hubby Ed Harris ships off to fight WWII, housewife Hawn finds herself via a factory job — and a fling with hunky trumpet player Kurt Russell. Despite her contentious relationship with her director, Hawn displays her greatest emotional range here, and Demme’s deft touch for humanist comedy shines through. Featuring Christine Lahti, Fred Ward, and Holly Hunter.
Goldie Hawn Retrospective to Screen at the Quad Cinema in NYC was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
Exploring the director’s fascination with spying.
The cinema of Steven Spielberg is one that’s built around fascination and a need to understand. As a director he is an explorer, but not one interested in unearthing grand artifacts, rather one in search of intimate treasures, an explorer of explorers, so to speak, someone to whom the process of discovery is much more interesting than the discoveries themselves.
As such, his films are rife with surveillance, characters spying on or otherwise surreptitiously watching other characters, tracking their behavior, their actions, their being, for the purposes of gathering information, good and bad. Think of the Nazis on the trail of Indiana Jones in Raiders of the Lost Ark peering over newspapers, or the future crime detectives in Minority Report scanning time for illegalities, or the government scientists after E.T. creeping about suburbia.
Spielberg is constantly exploring surveillance and the various mindsets behind it, and »
- H. Perry Horton
You’d be hard pressed to find such an iconic pairing of director and composer as Steven Spielberg and John Williams. The two enormous talents have been working together for 42 years now, starting all the way back with The Sugarland Express in 1974 and stretching up through The Bfg last year. The only two Spielberg […]
- Ethan Anderton
Back in the early 1970s, while George Lucas was immortalizing the “cruising” culture of teens and their cars in “American Graffiti,” his future frequent collaborator Steven Spielberg was exploring a different kind. Nearly a decade before director William Friedkin created a scandal with the Al Pacino-starring “Cruising” (released 37 years ago today), the wunderkind filmmaker—who has won over generations of audiences by evoking a childlike sense of wonder—almost made his leap from TV to features with the most adult-themed project imaginable.
It all started with producer Philip D’Antoni, who had won an Oscar for the 1971 drug-bust saga “The French Connection” and was looking for a filmmaker to helm another New York City-set crime project. He had just bought the rights to the novel “Cruising,” written by The New York Times feature writer Gerald Walker, in which an undercover cop descends into the leather bars of Greenwich Village as he tracks a homosexual murderer. »
- Michael Gingold
5 items from 2017
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