Costume designer Donna Zakowska was totally unprepared for the time jumps in the fifth and final season of Amazon Prime’s “The Marvelous Mrs. Maisel.” Stand-up comic Midge (Rachel Brosnahan) finally achieves stardom in 1961, yet we’re interrupted with glimpses of the future in wrapping up her story. This made Zakowska apprehensive and anxious when the scripts first came in from showrunner Amy Sherman-Palladino and executive producer-writer Dan Palladino.
“I wondered how it was going to work, the idea of these flash forwards,” the two-time Emmy winner told IndieWire. “That was really rather drastic to suddenly project who was Midge and [manager] Susie [Alex Borstein] 30 or 40 years from when we knew them. It’s hard to know how to really portray that, and, luckily, we had a very good prosthetics team. I just tried to think what happened and what does that mean in terms of the clothes and the characters and adhering to different periods?...
“I wondered how it was going to work, the idea of these flash forwards,” the two-time Emmy winner told IndieWire. “That was really rather drastic to suddenly project who was Midge and [manager] Susie [Alex Borstein] 30 or 40 years from when we knew them. It’s hard to know how to really portray that, and, luckily, we had a very good prosthetics team. I just tried to think what happened and what does that mean in terms of the clothes and the characters and adhering to different periods?...
- 4/29/2023
- by Bill Desowitz
- Indiewire
It’s the final bow for Prime Video’s awards darling “The Marvelous Mrs. Maisel,” and the latest season introduces a new narrative device that changes the whole show.
The opening episode of “Maisel” Season 5 picks up not with Midge (Rachel Brosnahan) or her family or manager Susie (Alex Borstein), but with her daughter — a 23-year-old Esther Maisel (Alexandra Socha) decades in the future.
Creator and showrunner Amy Sherman-Palladino told IndieWire that the “Maisel” creative team has toyed with using time jumps for years, but felt that it was too early to dive into the characters’ futures.
“It wasn’t earned enough. Nobody gave a shit yet,” she said. “But it was a device we really wanted to use… we kind of went all in on it because it’s a fun storytelling device, and it helps inform in quicker pops. It makes the current story that we’re doing...
The opening episode of “Maisel” Season 5 picks up not with Midge (Rachel Brosnahan) or her family or manager Susie (Alex Borstein), but with her daughter — a 23-year-old Esther Maisel (Alexandra Socha) decades in the future.
Creator and showrunner Amy Sherman-Palladino told IndieWire that the “Maisel” creative team has toyed with using time jumps for years, but felt that it was too early to dive into the characters’ futures.
“It wasn’t earned enough. Nobody gave a shit yet,” she said. “But it was a device we really wanted to use… we kind of went all in on it because it’s a fun storytelling device, and it helps inform in quicker pops. It makes the current story that we’re doing...
- 4/15/2023
- by Proma Khosla
- Indiewire
Person To Person Review Person to Person (2017) Film Review, a movie directed by Dustin Guy Defa, and starring Michael Cera, Abbi Jacobson, Philip Baker Hall, Michaela Watkins, Tavi Gevinson, Olivia Luccardi, Craig Butta, Ben Rosenfeld, Hunter Zimmy, Bene Coopersmith, George Semple III, Buddy Duress, [...]
Continue reading: Film Review: Person To Person (2017): A Simple, Silly Day In The Life Of New York City...
Continue reading: Film Review: Person To Person (2017): A Simple, Silly Day In The Life Of New York City...
- 7/22/2017
- by Reggie Peralta
- Film-Book
There’s Always Tomorrow…Maybe: Fidell Explores the Familiar Predicaments of the Ltr
Director Hannah Fidell follows her 2013 debut A Teacher with concisely minded 6 Years, another intimate exploration of a central relationship pushed to critical juncture. With her previous film documenting the sexual liaison between a teacher and her student, Fidell turns to less provocative waters this time around, focusing on a more familiar, socially acceptable scenario—the disintegration of a heterosexual long term relationship. Effectively capturing an empathetic and heartfelt portrait of how breaking up is hard to do, there’s an honorable level of realism established here that Fidell maintains throughout the film. The only trouble is, the film never feels like more than a comprehensively detailed, entirely foreseeable, forgone conclusion about a mundane, privileged couple hit with a cold, hard dose of reality.
Dan (Ben Rosenfeld) and Melanie (Taissa Farmiga) have been together for six years, having originally dated in high school.
Director Hannah Fidell follows her 2013 debut A Teacher with concisely minded 6 Years, another intimate exploration of a central relationship pushed to critical juncture. With her previous film documenting the sexual liaison between a teacher and her student, Fidell turns to less provocative waters this time around, focusing on a more familiar, socially acceptable scenario—the disintegration of a heterosexual long term relationship. Effectively capturing an empathetic and heartfelt portrait of how breaking up is hard to do, there’s an honorable level of realism established here that Fidell maintains throughout the film. The only trouble is, the film never feels like more than a comprehensively detailed, entirely foreseeable, forgone conclusion about a mundane, privileged couple hit with a cold, hard dose of reality.
Dan (Ben Rosenfeld) and Melanie (Taissa Farmiga) have been together for six years, having originally dated in high school.
- 8/22/2015
- by Nicholas Bell
- IONCINEMA.com
In two different parts of the world, two estranged siblings conduct their lives separately. The brother is a passionate busker and would-be pro musician singing his heart out in New York subways, and the sister is researching nomadic tribes in Morocco for her PhD. But a critical error in judgment one night reunites them: Henry (Ben Rosenfeld from “Boardwalk Empire”) is in a coma after an accident, and following an emergency call from their mother (Mary Steenburgen), Frannie (Anne Hathaway) drops everything to be by his side. Consumed by the accident and haunted by her last unfortunate interaction with Henry —chastising him for dropping out of college and then flouncing off to another continent— Frannie is wracked with guilt. Obsessed with trying to find a trigger that might get him out of his coma (smells and sounds), Frannie rifles through his belongings for clues about his life. She discovers a...
- 1/23/2015
- by Rodrigo Perez
- The Playlist
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