This week we discuss Galadriel, Cate Blanchett’s most iconic role. We delve into the enduring populariy of The Lord of the Rings trilogy and what diffrentiates them as excellent action adventure films, what makes Galadriel so special within Blanchett’s filmography and even ask Peter Jackson for a Boromir / Aragon rom-com. For this conversation Murtada Elfadl welcomes filmmaker Conrado Falco, co-creator of the show Wormholes and host of The Criterion Project podcast.
It’s time for another delicious villian from Cate Blanchett. The Wicked Stepmother in ‘Cinderella,’ the 2015 live action Disney remake, directed by Kenneth Branagh. For this conversation Murtada Elfadl welcomes writer and podcaster Manish Mathur, host of It Pod To You and Queer and Now podcasts.
From Wikipedia: After her father unexpectedly dies, young Ella (Lily James) finds herself at the mercy of her cruel stepmother (Cate Blanchett) and stepsisters, who reduce her to scullery maid. Despite her circumstances, she refuses to despair. An invitation to a palace ball gives Ella hope that she might reunite with the dashing stranger (Richard Madden) she met in the woods, but her stepmother prevents her from going. Help arrives in the form of a kindly beggar woman who has a magic touch for ordinary things.
Who does Cate play?
The Wicked Stepmother, Lady Tremaine.
How is Cate introduced?
9 minutes in – Lucifer the cat on a leach, “how charming how perfectly charming.”
What year did it come out?
2015 / it was her follow up to Blue Jasmine. Premiered at the berlin film festival
Cate gives psychological depth to a usually cartoonish villain – but also hits the high comic notes.
Cate talked of being having thought of Joan Crawford and that’s certainly apparent in the hair / costumes and performance
“Have courage and be kind.” It’s hard to play good and kind, but Lily James manages it “they treat me as well as they are able.”
The script is fun in dramatizing the story beats we all know, e.g. Cinders being banished to the attic comes as a sweet suggestion to give her bigger room to the step sisters. Or how she meets the prince.
The film has a romantic sweep and the visuals look.
Manish’s favorite Cate co-star is Sarah Paulson IRL. Fun conversation about their freindship.
The Berlinale premiere and this cute moment:
What reviews said of film / Cate:
“As so often with Disney films, this one is owned by its villain. Cate Blanchett, jaw-dropping in an Easter Parade’s worth of amazing costumes (that 2016 Oscar should just be wrapped up and mailed to Sandy Powell now), is the ace up the film’s fitted satin sleeve. Striking catlike poses and oozing poison when required, she is also given a little humanity, including a surprisingly dorky, vulgar laugh that suggests just how studied and artificial her elegance is. One scene in which she tells her life story like she’s the heroine of a “once upon a time” tale, does in two minutes what “Maleficent” couldn’t do in two hours: it helps us understand her character’s brokenness without declawing her one bit.” – Jessica Kiang, The Playlist.
“Enter Cate Blanchett in a delirious swirl of candy-colored evil. As Ella’s wicked stepmother, Blanchett is nasty perfection from her blood red lips to her baroque Sandy Powell-designed gowns. She’s like a cross between Coco Chanel and Norma Desmond, and she smartly plays her harpiedom to the back row of the theater. The fizzy cocktail combination of Blanchett’s cartoonish hauteur and Branagh’s visual razzle-dazzle and confectionary sets (courtesy of the legendary Dante Ferretti) manages to take a tale as wheezy as Cinderella and make it feel almost magical again.”– Chris Nashawaty, EW.
This week we take a brief detour from the films of Cate Blanchett. Instead we are discussing a current film, out on release now, Ammonite. Plus the career of Kate Winslet and in the latter part of the podcast we discuss a few other queer films out this season. Hosted by Murtada Elfadl with guest queer writer-performer, producer and filmmaker Ren Jender, whose work has appeared in The New York Times,NPR, Slate, Bandcamp and The Village Voice.
From Wikipedia: “Acclaimed paleontologist Mary Anning works alone selling common fossils to tourists to support her ailing mother, but a chance job offer changes her life when a visitor hires her to care for his wife.”
Who are the main characters?
Mary Anning (Kate Winslet) – a real life fossil hunter who is known to have been single, no historic evidence of her being queer which raised mild controversy before the film’s release – though that’s par for course since queer history is never recorded
Charlotte Murchison (Saoirse Ronan) – also a real life person though reportedly older that Mary in real life, there is evidence that Mary was invited to her London house for a weekend.
Elizabeth Philpot (Fiona Shaw) – Mary’s neighbor and assumed former lover.
Molly Anning (Gemma Jones) – Mary’s mother and live-in companion.
From IMDB: A loving mom becomes compelled to reconnect with her creative passions after years of sacrificing herself for her family. Her leap of faith takes her on an epic adventure that jump-starts her life and leads to her triumphant rediscovery.
Based on the novel by Maria Semple, a former TV writer who worked on such shows as Suddenly Susan,Mad About You, and Arrested Development.
Who does Cate play?
Bernadette Fox – one of many titular characters Cate has played.Charlotte Gray, Veronica Guerin, Blue Jasmine, Carol.
Bernadette is a genius who suffered a major career setback. Can she recover? That’s the movie’s premise.
The film is effective in building the marriage story and the mother daughter relationship but the social satire from maria Semple’s book is lost.
A highlight scene singing Time After Time, Cate undercuts by tearing up “I retain the right to being moved by those little things no one notices”
Was Richard Linklater miscast? The book is a social satire and that gets lost in this adaptation.
The woes of this adaptation as detailed in a Vulture article. There was a script written by Michael H Weber and Scott Neustadler who wrote 500 Days of Summer and The Spectacular Now but jettisoned by Linklater who brought in his own collaborators.
Blanchett as a physical comedian when “talking” with Bernadette’s virtual assistant Manjula.
“Blanchett remains best when playing unravelling women, however this is not a companion performance to her signature Oscar winning role in Blue Jasmine (2013) but rather I found myself thinking of another of her creations. The bored housewife who chooses to be kidnapped by bank robbers rather than continue filling her days with housework, in Bandits (2001). Bernadette is just as trapped as Kate Wheeler was and Blanchett manages to imbue her with the right chaotic temperenant to convey a woman confined by psychological trappings she can’t begin to face, let alone conquer. She’s always been a master of gestural acting and here she plays up her facial expressions and gives her body movement a fussy restless energy to show us how Bernadette is longing for more.”
We first meet Frances Price (Michelle Pfeiffer) in her huge Upper East Side mansion. The brown wood and the enormous space she lives in indicates immediately how wealthy and insular she is. Her son Malcolm (Lucas Hedges) and his girlfriend (Imogen Poots) announce their engagement to each other but are afraid to tell Frances. Another indication that Frances might not be the easiest person to deal with. And when a few scenes later she calls her lawyer a pig in French to his face, making sure he knows it and she gets away with it, the characterization is complete.
The lawyer was telling Frances that her wealth is no more. She’s forced to accept a friend’s offer of a free apartment in Paris. Across the ocean she and Malcolm go, bringing along their cat Little Frank, named after her dead husband. She plans to live in Paris as long as her money lasts which by the way she spends won’t be that long. The filmmakers behind French Exit, screenwriter Patrick DeWitt adapting his novel and director Azazel Jacob, understand that these insular privileged characters would be odd. They would act idiosyncratically, they would be unknowingly rude, they would not have a concept for how much anything costs. They live in their own world. So when the cat starts talking – in the voice of Tracy Letts – you go with it. Looking at them with any real world framework or rule book is a futile task. You might as well turn off the movie.
But Azazel also understands how perilous Frances’ situation is. So while the tone of the film is arch allowing the audience to laugh and enjoy how rude and cruel Frances can be. He also knows that he needs an actress to bring out the loneliness of Frances and he hit the jackpot in casting Pfeiffer who follows the film’s tone to a point. As we go along she slowly starts peeling off the affect, to show us the melancholic undertones of Frances. That’s when the performance finds its apex.
In Paris Frances and Malcolm start collecting a few eccentric friends, building a sorta family. There’s a sad widow (Valerie Mahaffey) who’s very enamored with Frances. A fortune teller (Danielle MacDonald) who sleeps with Malcolm. A soft spoken private investigator (Isaach De Bankole) who’s tasked with finding Little Frank when he runs away. Each of these characters brings another offbeat comedic note that provides levity but doesn’t add much to this quirky world we are watching besides showing us how isolated Frances increasingly becomes. She can’t make real connections, they have to be strange like her or she has to buy their companionship.
Hedges plays Malcolm with limited expressions of exasperation and despondensy. You don’t understand why these two women would be attracted to him. We only get faint glimmers of the rich boy’s insouciance that could be what attracted them. But it doesn’t matter, the real showstopper here is Pfeiffer. She’s the reason to watch. She could have played this role like an imperious 1940s Bette Davis character; a Regina Giddens (The Little Foxes) or Fanny Skeffington (Mr. Skeffington). All haughty gestures and clipped tones. Perhaps that would have made it more memorable. It certainly would have made it more gif-able, more fun and catnip to awards bodies. But Pfeiffer is getting at something more interesting than paying homage to a proven screen persona. That would be expected, instead she’s interested in locating a center of sorrow and regret that drives this woman. She even recedes to the background in group scenes and lets Mahaffey steal their scenes together. She’s staying true to Frances’ nature, a rich woman used to having lots of space between her and others. A woman who can’t be bothered to react to people except with dismissal until she is forced to face reality. This is most evident in a heartbreaking scene where Frances acknowledges that her life is riddled by cliches.
French Exit is a film to savor and bask in. There are no immediate takeaways or blazing memorable scenes or even a loud performance to start a conversation. These are not characters you fall in love with or want to spend lots of time with. It’s not a film that elicits a definitive opinion right after it ends. However a few days later I keep thinking about it.
French Exit screened as the closing night selection of this year’s New York Film Festival will be released in February 2021.
In a snippett from the podcast discussing the costumes worn by Cate Blanchett’s Lou Miller in Ocean’s 8, host Murtada Elfadl and guest Kate Halliwell discuss their favorites and call back to the homoerotic tones in the relationship between the two leads.
Once in a while a film comes along where the filmmaker has made every right choice. As I was watching Garrett Bradley’s Time I kept nodding my head. Of course black and white was the right choice to tell the story merging archival footage with new footage. Of course you plunge the audience into the story without talking heads or time markations. And most of all of course that’s how you end to achieve catharsis.
Let’s back up a little, I’m getting ahead of myself. A chronicle of the life of Fox Rich, an activist and mother of six boys, Time tells the story of a family and the grave injustice of a broken system. Rich’s husband Rob is serving a 60 year sentence for a robbery they both committed in the 1990s. She got out after serving more than 3 years and for the last 20 year has been trying to get him out while raising their family. At the same time she’s been documenting her life and her kids’ for Rob.
Bradley seamlessly integrates Rich’s video diaries with what she shot of her 19 years after the robbery. We are never sure when the diaries end and the newly shot footage starts. Just like time, an endless loop of memories filled with both heartache and joy. The black and white photography makes Time more mesmerizing and adds poignancy and heft to the story.
This is a story ostensibly about Black suffering. The sentence that Rob gets does not equal the crime he committed in a moment of desperation. Rich knows this is a system continuing the enslavement of Black people and rightfully declares herself an abolitionist. What’s on screen though is not the suffering of this family. But rather the resilience, the fight and the hope. That’s what makes Time sublime. It gets to the bone of its message without hammering it through. It’s a gentle poke of a movie achieving catharsis with the cumulative emotions it elicits by the end. We get there because Bradley deftly uses all her arsenal as a filmmaker to show the cost and the toll it takes for this family to have a moment of peace.
Time will be available on Amazon Prime on October 16th.
I recently saw Nomadand at the New Yorl Film Festival from the comfort of my couch.
“You know you are not watching just any old prestige drama when a film throws in a shot of its lead character – played by a 2-time Oscar winner – defecating a mere three minutes into its running time. Chloé Zhao’s Nomadland is a film concerned with the concrete realities of life. Things that might seem mundane or unmentionable but take up a big part of everyday life. How a woman carves a small place on earth to sleep, eat, work and yes defecate.”
September, even in this pandemic year, represents an interesting dichotomy in the film year. As news and breathless soundbites about new and exciting movies come from film festivals in Venice, Toronto and New York – the new movies becoming available are mostly mediocre. These are films stuffed with good intentions, socially relevant stories and celebrated actors. Yet something went amiss during the conception and/or production. So with little expectation I hit play on Misbehavior and Blackbird.
As usual my entry into these movies were the actresses. Susan Sarandon, Kate Winslet and Mia Wasikowska are in Blackbird. I knew it was a family drama about euthanasia so I thought at the very least I’d get these three actresses dealling with dramatic material and maybe there will be fireworks. There weren’t any but the film delivered on the rest.
The story takes place over the last weekend in the life of a matriarch (Sarandon) suffering from a terminal illness. Along with her doctor husband (Sam Neil), she has decided to end her life so she gathered her daughters (Winslet and Wasikowska, their spouses (Rainn Wilson and Bex Taylor- Klaus respectively) her grandson (Anson Boon) and best friend (Lindsay Duncan). Confrontations ensue, secrets are revealed and the deep ties that bind family are supposed to get us to an emotional end.
Alas, because the script never goes anywhere unexpected and director Roger Michell shoots with minimal flair it was left to the actors to provide both the pathos and entertainment. Sarandon is commanding and understated playing this woman with a permanent look of resignation and wisdom. Winslet goes into the other direction deciding to give us a CHARACTER. Her imperious and never relaxed older sibling is a mixture of tics and rigid movements. The performance works in fits and starts and she fares better in the many showdowns between the sisters. That’s because Wasikowska is given a sketch of a character. All the cliches of the younger sister; she’s rebellious, lost, deals with substance abuse but all that doesn’t cohere into a recognizable human being stranding Wasikowska in the process.
For a film dealing with such a weighty subject Blackbird is too slight to leave a mark. The script – credited to Christian Torpe – never tries to make any bold statements relying on a quiet slice of life familial narrative. That might be commendable though it also leads to a rather forgettable film.
Misbehavior is grander and more ambitious in its storytelling and thus more affecting. Set at the !970 Miss World competition in London, the film presents its story through the eyes of four real life characters.
First we have two contrasting views from white women fighting for women’s liberation. Sally Alexander (Keira Knightley) who wants to make change by joining places of male power like academia. Then Jo Robinson (Jessie Buckley) who’s more radical and looking to dismantle all institutions. The contrast is built rather simply as these two women meet and join forces within the same activist group despite opposing tactics. Rebecca Frayn and Gaby Chiappe’s screenplay does not invent the wheel and the scenes where we get to know these two are familiar but also rather engaging.
The third and perhaps most interesting point of view is introduced later in the film. Gugu Mbatha Raw plays Miss Grenada Jennifer Hosten who becomes the first Black winner of Miss World. The tension comes from Alexander and Robinson leading a disruption during the ceremony to protest how it objectifies women. Hosten and the first ever Black contestant from South Africa Pearl Janssen (Loreece Harrison) are trying to use the competition as a springboard to more opportunities and to inspire young Black girls everywhere. The best scenes are when the women talk to each other; Janssen and Hosten, Robinson and Alexander and finally Hosten and Alexander. It’s all earnest and heartfelt but the actresses bring a sensitivity and understanding that make these scenes touching. The film tries to balance their views and critique both the exploitation of beauty pageants and the sometimes bird view of white feminism.
Under prosthetics Gregg Kinnear plays the host Bob Hope presenting the fourth and last point of view. While the filmmakers might have been trying to present the waning world of male entitlement and misogyny with this portrayal it doesn’t add anything insightful to the story. All it does is strand Lesley Manvile in a thankless as his nagging wife, Dolores Hope. I guess they needed to insert a real life famous figure. A more interesting perspective is that of Julia Morley (Keeley Hawes) the wife of the competition’s organizer who recognizes that they must change with the time or become obsolete. I wish the filmmakers beefed up that part instead.
Similar to other small slices of a well known life British movies like last year’s Judy – also with Buckley – Misbehavior is watchable thanks to the charming performances by its leading ladies. Like Blackbird it will be forgotten by next week.
Blackbird is available now in VOD and in select theaters. Misbehavior will be released on September 25.
A new Steve McQueen film is always reason for celebration and especially this one, his sexy and intoxicating swerve into joie de vivre. Lovers Rock which debuted as the opening night film of the New York Film Festival, is part of Steve McQueen’s Small Axe anthology. The series comprises five original films set among London’s West Indian community in the 1970s and 1980s and inspired by stories remembered by McQueen and his family.
Distinctly a McQueen film with its long intense takes and shots that dissolve into one another. Though somewhat of a swerve for him into joie de vivre as these extended dance sequences show the euphoria and camaraderie of life, of people coming together.