Actress Lisa Spoonhauer who had a role in the Gen X classic Clerks has died.
We also lost Sir Roger “James Bond” Moore.
London premier of Wonder Woman cancelled due to Manchester attack.
The best films from the Cannes Film Fest…so far.
Intriguing details on Star Wars: The Last Jedi coming out later this year.
Speaking of Sci-Fi, here is Indie Wires’ list of the best Sci-Fi movies of the 21st century so far.
How this deleted scene from Get Out would have changed the film’s outcome.
Yep, there’s going to be a Top Gun sequel. Tom Cruise confirms it.
Nicole Kidman vows to work with more female film directors.
Netflix giving directors a chance to direct original content that don’t focus solely on super heroes.
Directed by William Wyler and based on the Henry James novel, Washington Square, The Heiress is a drama that examines the issues of love, revenge, heartbreak, mental cruelty, wealth and class. And it does in a way that makes you think how people’s lives could be different if they were born in another time or place.
Olivia de Havilland plays Catherine Sloper, the daughter of a wealthy doctor, played by Sir Ralph Richardson. Catherine’s mother died giving birth to her, and Dr. Sloper seemingly blames Catherine for his beautiful wife’s death. Catherine, on the other hand, is plain and awkward, and her father never fails to let her know what a disappointment she is to him.
Catherine seems to be destined to live her gilded cage as a lonely spinster when Morris Townsend (Montgomery Clift) comes along. Morris is handsome and dashing. He charms Catherine and lavishes loving attention on her that she never received from her father. Catherine gains confidence and begins to bloom as Morris courts her. However, Morris is penniless, and Dr. Sloper believes he’s only with Catherine to gain access to her inheritance. He can’t imagine anyone being interested in his daughter beyond her money.
Morris asks for Catherine’s hand in marriage, telling her they can elope. But Dr. Sloper tells Catherine if she marries Morris he will disinherit her and there is no way Morris can support her. Catherine doesn’t care. She’s convinced Morris truly loves her, not her potential inheritance. Morris finds out but claims it doesn’t matter whether Catherine gets her father’s money or not. They will marry.
Catherine awaits for Morris to whisk her away and marry her. But he disappears, breaking her heart. Catherine hopes her father will show her some kind of compassion. Instead, he cuts her down with vicious remarks. Catherine tells her father she would have married Morris even if all he cared about was her inheritance. After all, being loved for one’s money is better than being not loved at all.
Time passes, and Catherine’s heart hardens Her father dies, and leaves her his entire estate. Years later, Morris returns. He went to California intent on making his fortune but comes back to New York making nothing of his life. Still, he professes his love for Catherine. He tells her he only left because he knew losing her inheritance would leave her destitute. Catherine says she forgives him. She also claims she wants to marry him. But is she telling the truth?
Morris comes back that night and that’s when Catherine gets her revenge. She was not sincere in her forgiveness. Coldly, she tells her maid to bolt the door as Morris knocks and knocks, shouting her name. Catherine’s aunt is appalled by Catherine’s behavior, bemoaning her cruelty towards Morris. Catherine turns to her and says, “I have been taught by masters.” Is she wiser or is she bitter? Perhaps she is both. The film fades with Morris still shouting Catherine’s name as she walks up a staircase.
Olivia de Havilland (who won an Oscar for this role) is brilliant as Catherine naturally conveying Catherine’s transformation from victim to victimizer. Montgomery Clift is so beautiful he takes your breath away. He’s also very adept at being a charming manipulator. You’re not surprised Catherine is drawn to him even though you want her to keep him at arm’s length. Sir Ralph Richardson is chilling as Dr. Sloper, yet you also understand he wants to protect his daughter of Morris’ less than sincere intentions.
While watching The Heiress I kept wondering how Catherine’s life could have been different if she had been born in another time. She could have earned a college education, struck out on her own and had some semblance of independence. She could gain confidence and learn to love herself, and maybe, just maybe, attract the right kind of man. Money is wonderful, but it’s not everything, and Catherine proves one can be surrounded by luxury yet be emotionally and mentally impoverished.
50 Shades of Grey? Seriously? How about re-reading Fear of Flying or the works of Anais Nin?
Jeanette Walls’ memoir, The Glass Castle, gets the film treatment.
Realtor uses soft-core porn to sell 100 million dollar real estate and I roll my eyes over the artlessness and vapidity of it all.
Fetch never happened, but a Mean Girls musical will happen!
Filmmakers who admit their movie sucked.
To a lot of us, fashion seems like a fluffy and superficial profession. But to countless fashion insiders everywhere it is a deadly serious business. This is a business where people know the difference between puce and plum, and where hemlines and necklines are of utmost importance. And that cute handbag you just bought from Target? Quite likely it’s a knock-off of a pricier designer handbag a fashion editor claimed was the “must have” of the season.
And there is probably no more important fashion magazine than American Vogue. At the helm is the British ex-pat Anna Wintour and Vogue is the bible to fashionistas everywhere. And no issue of Vogue is more important than the mammoth September issue, chock full of fashion and beauty layouts, articles, celebrity profiles and yes, lots and lots of advertisements.
Documentarian RJ Cutler (The War Room, which focused on the 1992 Clinton presidential campain) turns his unblinking camera lens to the creation of the 2007 September issue of Vogue in the documentary The September Issue. The September Issue follows Wintour and crew as the September Issue begins with some nuggets of ideas to a fully-formed magazine on the newsstand.
The September Issue begins with Wintour reflecting on the power of fashion and how it can make some people nervous. Known mostly for her whippet-thin figure, swingy bob and dark sunglasses, it was a bit jarring to hear Wintour speak. Sure, she’s not warm and fuzzy, but there is a reflective side to her that makes her quite human.
During the film we see Wintour meeting with staff to discuss the issue. We see her jetting off to London, Paris and Rome to attend fashion shows and meet with designers. Wintour can make or break a designer with one raised eyebrow so I wouldn’t be surprised if even established designers like Jean Paul Gaultier and Karl Lagerfeld felt a bit nervous about meeting her. But when Wintour likes a designer she is behind that person 110%. Wintour was an early supporter of Thakoon (one of Michelle Obama’s fave designers). Her support of him, dare I say it, is almost sweet.
Wintour is also the editor that put celebrities on the covers of Vogue over models, and the chosen celebrity for this September issue is British actress Sienna Miller. Sienna comes to the Vogue offices and is outfitted in beautiful couture gowns, many which will end up in the magazine. However, the staff is flummoxed by Miller’s hair, which is growing out awkwardly, and not quite up to the magazine’s standards. Later, Wintour is not happy with Sienna’s photo layout shot by legendary photographer, Mario Testino, and the design staff scrambles to make a viable cover.
Though Wintour is at the top of the Vogue heap, she is not alone in making Vogue what it is. In September Issue, we get to meet editor-at-large (literally) Andre Leon Talley, the cape wearing and Vuitton-loving male Auntie Mame who seems to be employed to kiss Wintour’s skinny ass. I can’t imagine what Talley actually does for the magazine, but he definitely added a fun element to the movie. If he didn’t exist, a Hollywood would have to create him.
And then there is the brilliant creative director Grace Coddington. Coddington started out as a fashion model in the swinging sixties. But after suffering a horrific car crash, Coddington turned her talents to fashioned a role behind the camera. Coddington is the yang to Wintour’s yin. If Wintour is all about commerce and wondering if it will sell, Coddington is all about art and creating beautiful and over-the-top fashion layouts that are all fantasy.
Not surprisingly, Wintour and Coddington don’t always see eye to eye. As the issue is being put together, Coddington is creating a 1920s Parisian cafe society fashion layout inspired by the designer Galianos. Coddington’s vision is pure magic, yet Wintour is not pleased with one of the photos, and wants it deleted. Coddington is not happy. This layout is her baby. Yet, I could see both their points. The shot is gorgeous, yet it doesn’t quite work with the rest of the photographs. The offending photo is cut.
However, Coddington does get to make one final decision. During a last minute photo shoot for another layout, Coddington taps the documentary’s cinematographer, Bob Richman, to join the model in a photo. He happily obliges. Wintour takes a look at the resulting photo and wants to airbrush Richman’s slight pot belly. Coddington nixes the idea, saying, “Everybody isn’t perfect in this world.” Richman’s belly stays in the picture. Finally, after months of preparation, the September 2007 issue of Vogue is released. It weighs over four pounds and is over 800 pages, the largest issue in Vogue history.
RJ Cutler’s “fly on the wall” film making style is what helps make this movie so interesting. You get to see everyone in their element without film maker commentary. I was stunned to see the staff look at the mock ups on a huge wall where pictures and layout can be moved by hand rather than doing it on a computer. I was also pleasantly surprised to see how un-Botoxed and unmade-up the staff was even though most of them, like their leader, is very, very thin. Also, I was surprised how plain the Vogue offices are. I was expecting something ostentatious and grand, but the offices are quite non-descript.
But most of all, I was surprised how much I didn’t despise Anna Wintour. Sure, she isn’t at Vogue to make friends, but she isn’t the vicious harpy the media makes her out to be. Yes, she’s reserved and exacting but so are a lot of people in any cut throat business. And I doubt any negativity thrown Wintour’s way would be applied to a successful man. But still, Wintour does show some vulnerability as when she talks about her siblings, all of them in more serious professions, who are quite “amused” by her career.
September Issue is a fascinating look at both a legendary magazine and the talented people who make it happen. It is the “must have” for both fashion and film lovers.
“I never think of myself as an icon. What is in other people’s minds is not in my mind. I just do my thing.” – Audrey Hepburn
If she had lived, Audrey Hepburn would have turned 88 years old today. Sadly, we lost her over twenty years ago. She never had the chance to reach this milestone. Being a huge fan of Audrey Hepburn, I could continue to mourn her death but I’d rather reflect on why she and her amazing life mean so much to me.
I first became interested in Audrey when I first saw the movie Funny Face as a teenager. In this movie, Audrey plays Jo Stockton, a mousy bookstore clerk turned haute couture fashion model. I figured I’d love this cinematic fairy tale for the Parisian sights, Fred Astaire dance scenes, smart and subversive humor and Givenchy fashions. But I had no idea I would become besotted with a wide-eyed gamine named Audrey Hepburn.
It was a mystery why Audrey grabbed me so much. Sure, she was beautiful, talented and charming, but so are plenty of movie stars. Audrey just had that “it factor” I couldn’t explain but I knew I wanted to see more of her movies and learn more about her as a human being. Who was the Audrey Hepburn beyond the flickering celluloid?
I began renting Audrey’s movies and watching them over and over again. Breakfast at Tiffany’s, Roman Holiday, Sabrina, My Fair Lady and Charade were just a few of Audrey’s movies I couldn’t get enough of. In these movies, she was both lady-like and spunky, at turns heartbreaking and strong, and so very Audrey. Sure, she made characters like Holly Golightly and Sabrina Fairchild household names, but she wasn’t afraid to court controversial topics like the possibility of lesbianism in The Children’s Hour or a nun questioning her faith in The Nun’s Story. And in her last movie, Always, she played an angel. Now she really is one.
And we can’t mention Audrey without discussing her impeccable sense of style with her friend and confidant, fashion designer, Hubert de Givenchy. Audrey helped introduce women to fashionable basics we now take for granted-big sunglasses, the little black dress, ballet flats to name a few. How empty our closets would be without Audrey’s influence. And she was always willing to give Givenchy the important credit for creating the “Audrey Look.” Audrey wore his clothing in her movies and her in personal life. She often claimed knowing what she’d be wearing in a movie helped her develop a character, and complimented Givenchy’s outfits for making her feel protected.
Like any other woman, Audrey had her share of joy and heartbreak in her life. Her parents divorced when she was a child, and she rarely saw her father afterwards. She nearly starved to death during World War II after the Nazis took over her homeland, Holland. As an adult, she was married and divorced twice, finally finding lasting love with the love of her life, Robert Wolders. Desperate to be a mother, Audrey suffered several miscarriages, finally giving birth to her first son, Sean, in 1960 with Luca following in 1970. Being a mother was Audrey’s greatest joy, and just like so many other mothers out there, she tried to achieve work/life balance and slowed down her career to devote time to her boys.
But Audrey’s care and concern went beyond her own children. In 1988, she got involved in UNICEF. UNRRA, UNICEF’s forerunner, helped Audrey at the end of World War II, and she wanted to pay them back. She became a Goodwill Ambassador and traveled around the world witnessing the atrocities of famine, drought, war, lack of education and how these issues damaged young lives. She took this new found knowledge and informed others, inspiring them to help.
It was during this time, I got to see Audrey in person. Before her untimely death, my friend Nora and I saw Audrey read from the Diary of Anne Frank, accompanied by the New World Symphony and conducted by the legendary Michael Tilson Thomas. Audrey was one of those people who spurned us to action, and to this day, Nora and I are involved in causes within our communities and abroad.
On a final trip to Somalia, Audrey fell ill. At first she thought it was a simple virus, but it was soon found out that she had colon cancer. And sadly, she lost her battle to cancer on January 20th, 1993. Nearly everyone mourned her death. Tiffany & Co. took out an entire page of the New York Times to memorialize her, and People magazine devoted a special issue in her honor. To this day, I can remember hot, sticky tears pouring down my face when Entertainment Tonight played “Moon River” from Breakfast at Tiffany’s as it showed scenes from her movie and her life.
After Audrey’s death, her sons founded the Audrey Hepburn Children’s Fund to commemorate her work on behalf of children everywhere. As for me personally, Audrey Hepburn has influenced me in countless ways. Probably the most important way is by improving my community and the world around us through self-education, volunteering, charitable giving, and donating my skills to causes I care about.
Audrey was like a lot of us, yet she compels us to aspire to things greater than ourselves. My life is richer because of her, and I know she will continue to inspire many others. You are missed my Huckleberry friend.
“The beauty of a woman is not in a facial mode but the true beauty in a woman is reflected in her soul. It is the caring that she lovingly gives the passion that she shows. The beauty of a woman grows with the passing years.” – Audrey Hepburn
If any industry seems perfect for satire and parody it’s fashion, especially the rarefied world of fashion magazines. Fashion doyennes decide where our hemlines will be this season with the same seriousness as preparing military readiness in the Middle East. Bulimia and anorexia are considered virtues. And Botox is as necessary as air and water. Ugly Betty was a successful television sitcom immersed in the world of fashion, and The Devil Wears Prada was a huge smash, so I had big hopes for the indie movie Intern. Sadly, Intern turned out to be as big of a Glamour fashion don’t as see-through jeans and pretty much every outfit you see on the Kardashians.
Dominique Swain plays Jocelyn Bennett, an intern at the fashion magazine Skirt. Jocelyn is apparently a photographer, though you never once see her take a picture, and she is fan of Skirt’s innovative layouts and photography. Sadly, in the brief moments we get to see Skirt, the actual magazine, you wonder if the layout was done by a third-grader on Power Point back in 1998. Yes, I know this movie was low budget, but you think someone could have tried a bit harder.
When Jocelyn isn’t making copies, faxing, running errands and cleaning up Skirt staffers’ desks, she’s pining away for the magazine’s art director, Paul Rochester (Ben Pullen). Paul is a fashion magazine rarity, a straight man. And he’s also allegedly related to Prince Charles. Paul is very fond of Jocelyn but at the moment he is involved with a bitch-on-heels fashion model named Resin (Leilani Bishop).
As Intern begins we find out a Skirt insider has been selling Skirt’s secrets to rival magazine. Jocelyn figures finding out who this insider is just might make her a hero at the magazine, and she goes about trying to find out which fashionista has betrayed Skirt. This also gives her a chance to get closer to Paul. Of course, mayhem ensues, blah, blah, blah. But by the time the movie reaches its dénouement, we really aren’t that invested.
I should have known this movie was going to be crap when it began with a cringe-worthy musical number. Most of the observances of the fashion industry, like when an editor makes herself vomit after finding out the milk in her coffee is 2%, not skim, fall flat. The dialogue is clunky, and when Paul tells Jocelyn that she has the whole world inside of her I audibly groaned. A majority of the performances are wooden; only Kathy Griffin as Cornelia managed to get a laugh out of me.
A lot of blame also belongs on Swain whose acting in Intern is amateurish. At times she rushes through her lines and she has no comedic skills. Her Jocelyn is supposed to be the heroine but in the end you don’t care about her and her future at Skirt. Plus, if Jocelyn is supposed to be so much in fashion why does she dress like such a frump?
A lot of fashion designers and other fashion insiders make cameos playing themselves, and I have to admit that I did have fun naming them. “Hey, there’s Diane von Furstenberg!” “Hey, is that Simon Doonan?” And Vogue editor-at-large, Andre Leon Talley seems to have the ability to poke fun at himself.
Sadly, those cameos can’t make up for a dimwitted film. Intern was written by Caroline Doyle and Jill Kopelman, two women who claimed to have worked at fashion magazines. Buddhist monks could have written a better script. If you want to watch the fashion magazine industry skewered to great effect, you are better off staying home and binge watching Ugly Betty.
*Not to be confused with the 2015 movie The Intern starring Ann Hathaway and Robert DeNiro.
Jodie Foster’s tribute to the late Jonathan Demme.
Oscar winning documentary filmmaker Michael Moore working on play focusing on Trump.
The late Robin William’s last film, Absolutely Anything, has a release date.
Would the film classic The Godfather get released today? Director Francis Ford Coppola’s answer.
Film Comment looks back at the Audrey Hepburn/Albert Finney movie Two For the Road.
Women in Hollywood who are considered gold diggers? Gold diggers in Hollywood? Color me shocked!
James Gunn advises not getting into a tizzy over film spoilers.
Is the soon-to-be-released movie 5-25-77 a love letter to Star Wars?
Black and White version of Logan will also be released.
Based on a novel by Joyce Maynard, with a script by Buck Henry, and directed by Gus Van Zant, To Die For combines dark comedy, traditional drama and “mockumentary” interviews to very entertaining results.
Nicole Kidman plays Suzanne Stone, a local cable weather girl with huge dreams of finding fame and fortune as the next Barbara Walters. What Suzanne lacks in talent and intelligence, she makes up for in manipulation and ruthlessness, and nothing, including her marriage, will get in her way.
The movie commences with Suzanne marrying Larry Moretto (Matt Dillon), the biggest catch in Little Hope, New Hampshire. It’s not certain why Suzanne falls for Larry other than she thinks his close Italian-American family has mob connections, which can help her achieve her goals. Larry is lovable, albeit a bit dim, and completely clueless to Suzanne’s calculating ways. All Larry wants to do is settle down in Little Hope, run the family restaurant and makes lots of babies with Suzanne.
Of course, Suzanne has different plans. Despite her lack of journalistic and television experience she’s able to charm a local cable TV manager in giving her a gofer job. She parlays this lowly position into a regular stint as a weather girl. It’s not long before she recruits some local teens in producing a subpar TV special called “Teens Speak Out.” Jimmy (Joaquin Phoenix), Russell (Casey Affleck) and Lydia (Alison Folland) are the hardly the type-A achievers you’d expect on a teen-oriented TV show. They’re inarticulate and not good students, but apparently being in awe of Suzanne is the only job requirement necessary.
Larry gets a bit fed up with Suzanne’s ambitions and tells her it’s time to get busy with making babies. But Suzanne will have none of this. She tells her mother-in-law that being pregnant on TV is a career killer. Oh, if only Suzanne had waited a decade or so. Today, baby bumps and stupidly named off-spring are the “must have” for any celebrity. You can even become famous for simply having kids.
Suzanne realizes Larry, and his meddling family, is getting in her way of achieving TV success. There is only one thing she can do, recruit Jimmy, Russell and Lydia in bumping off her husband. Now having an affair with the devious, yet seductive Suzanne, Jimmy does the deadly deed. This local murder becomes national news making Suzanne the “star” she always desired and she revels in her tabloid notoriety. Not surprisingly, the hapless Jimmy is not so lucky.
However, Larry’s family is very wise to Suzanne’s scheming ways and they make sure Suzanne gets her comeuppance. The mousy Lydia, who Suzanne disdained as “white trash,” tells her story in a television interview and becomes famous in her own right.
Every performance in To Die For is near perfection. Matt Dillon is very good as a man who’s happy to have the prettiest girl in town but really wants the homebound hausfrau. Illeana Douglas as Larry’s sister Janice is dryly sarcastic and figures out Suzanne’s BS early on in the game. Both Phoenix and Affleck show a great deal of promise early in their careers in their respective roles.
But To Die For is truly Nicole Kidman’s film. With Kidman’s acting chops, Suzanne Stone is hugely self-absorbed but not very self-aware. Her calculation and cunning is as transparent as a plate of glass, but her telegenic beauty and media-savvy charm succeeds in drawing you closer. Despite ourselves, we want Suzanne Stone to be in front of the camera. Kidman won a very deserved Golden Globe for her portrayal of Suzanne Stone. She is simply a bewitching mix of evil and charisma, and Suzanne Stone is a person we recognize in everything from reality TV to national politics (ahem, or both).
Both the film and the novel were inspired by Pamela Smart, a teacher and wannabe TV personality who convinced a young man to kill her husband. But instead of telling this story straight, the film takes a very satirical look at our obsession with celebrity, fame and notoriety. Merely entertaining when it was released over ten years ago, in our celebrity-entrenched culture, To Die For is a pointed take on a very interesting phenomenon, the desperate need for fame at any cost.