‘Blue Jasmine’ Part 3 – Jasmine and Her Sisters

In the 3rd and final part of the Blue Jasmine miniseries, we discuss Jasmine and her sisters. Annie Hall, Helen St Clair in Bullets Over Broadway, Maria Elena in Vicky Cristina Barcelona and Cecilia in The Purple Rose of Cairo, among others. Hosted by Murtada Elfadl with returning guest journalist and theater critic Jose Solís, host of Token Theater Friends podcast.

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Follow along, the film is streaming at Amazon.

What is the film about?

From IMDB: A New York socialite, deeply troubled and in denial, arrives in San Francisco to impose upon her sister. She looks a million, but isn’t bringing money, peace, or love…

What year did it come out?

July 2013

Who does Cate play?

Jasmine of course. One of her many titular characters.

How is Cate introduced?

Immediately and memorably. Jabbering away about her life and marriage to a stranger on a plane, sets the tone for how unstable the character is. 

Box Office:        Domestic = $33MM                Int’l = $66MM

Metacritic : 78          RT: 91

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How often do you quote Blue Jasmine IRL?

Topics discussed:

  • Woody Allen is a well known terrible person. Though the films are great and influential. Art vs. Artist. How do you reconcile your feelings about him and his art that we have loved for many years?
  • Blue Jasmine is a performance driven film. Blanchett just holds the screen. What other examples of this are in Allen’s canon?
  • Annie Hall (1977) – unique character inspired by the actress playing her, Diane Keaton.
  • Bullets Over Broadway (1994)- comedy genius performance from Dianne Weist.
  • Vicky Cristina Barcelona (2008) – another comic “genius” in Penelope Cruz.
  • Interiors (1978) – is it the closest to Jasmine of Woody’s women? Certainly the tragic ends of both Eve and Jasmine are similar. 
  • Or is it Judy Davis in Husbands and Wives (1992), an actress who’s closest in temperament to Blanchett?
  • Mia Farrow’s sublime performance in The Purple Rose of Cairo (1985).
  • Emma Stone as the Woody stand-in Irrational Man (2015).
  • Allen’s reputation for many years as “women’s writer director” can’t be denied despite some misogynistic roles e.g Hemingway in Manhattan
  • The work of the costume designer and the makeup artist in helping Cate craft this performance
  • Charting the effects of the economic crisis on one person.
  • This is a lauded performance with critics, awards bodies and audiences – where does this stand among the best performances of the 2010s?
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Peter Sarsgaard, Blanchett, Michael Stuhlbarg and Alec Baldwin at the New York premiere July 2013

References:

“I think Woody Allen is a criminal, but I still think about (& might watch) his old films. I think The Cosby Show should still be aired.” Emily Nussbaum to Terry Gross on NPR.

Promotional Work:

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‘Blue Jasmine’ Part 2 – The Streetcar Allusions

In part 2 of the Blue Jasmine miniseries, we discuss the similarities with Tennessee Williams’ A Streetcar Named Desire, the character of Blanche Dubois, clearly is the blueprint for Jasmine. The many actresses who played Blanche or were inspired by her from the women in Pedro Almodovar’s movies to Gena Rowlands in A Woman Under the Influence to most recently Carey Mulligan in Wildlife.  Hosted by Murtada Elfadl with guest TV and Film Journalist Candice Frederick.

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Follow along, the film is streaming at Amazon.

What is the film about?

From IMDB: A New York socialite, deeply troubled and in denial, arrives in San Francisco to impose upon her sister. She looks a million, but isn’t bringing money, peace, or love…

What year did it come out?

July 2013

Who does Cate play?

Jasmine of course. One of her many titular characters.

How is Cate introduced?

Immediately and memorably. Jabbering away about her life and marriage to a stranger on a plane, sets the tone for how unstable the character is. 

Box Office: Domestic = $33MM         Int’l = $66MM

Metacritic : 78         RT: 91 

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We explore the relationship between the sisters in this episode

Topics discussed:

  • Blue Jasmine as a riff on Tennessee Williams’ A Streetcar Named Desire. Woody Allen denied the connection, though it’s obvious to anyone who knows the play.
  • The differences between Streetcar and Jasmine:

– No sexual tension between Jasmine / Chilli as there was btw Blanche / Stanley.

– It’s Jasmine’s story, diminished roles for other characters.      

– Modernized Streetcar though themes of class disparity are consistent.

  • Blanche is written and played more vulnerable than Jasmine, though they are both architects of their own destruction.
  •  Cate has played Blanche DuBois in a production directed by Liv Ullman that came to BAM in 2009. 
  • Other actresses who played Blanche (it’s a right of passage) include: Vivien Leigh, Jessica Lange, Rachel Weisz, Gillian Anderson, Nicole Ari Parker.
  • Other performances in the vein of “women unravelling” so many examples from Gena Rowlands in A Woman Under the Influence to Carey Mulligan in Wildlife to a whole array of Pedro Almodovar leading ladies particulary in All About My Mother.
  • Blanchett’s performance in relation to the other actors, in particular her chemistry with Sally Hawkins as the “Stella” to her “Blanche”.  
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Blanchett and Hawkins as Blanche/Jasmine and Stella/Ginger

What reviews said of film / Cate:

“This is a film that draws deep from the well of A Streetcar Named Desire. Cate Blanchett, who has played Blanche du Bois onstage, is here cast as an updated version of Tennessee Williams’s anti-heroine, Blanche’s reveries about a faded Southern aristocracy replaced with contemporary delusions bred by life as lived among the 1 percent in Manhattan and the Hamptons. The film begins with Jasmine (née Jeanette) arriving in San Francisco, broke but still flying first class, the dazed victim of a financial scandal involving her former husband. Now homeless, she is forced to rely on the comfort of her estranged sister, Ginger, who is romantically involved with a blue-collar lug named Chili. (Although we see Chili in a wife-beater, he refrains from shouting, Hey, Ginnnnn-gerrrrrr!!!!) Like Streetcar, Blue Jasmine is the story of Jasmine’s further humbling, of upper-class pretension dashing against the rock of working-class earthiness; also like Streetcar, Allen’s work shares its heroine’s snobbery, the director as appalled as Jasmine by Chili’s and Ginger’s gaucheries, their lack of interest in high culture, their aspirational void”Vanity Fair

 

Blanchett, Blanche — the names seem fated for each. Mr. Allen has said that he didn’t see Ms. Blanchett play Tennessee Williams’s most famous creation in Liv Ullmann’s celebrated 2009 production of “A Streetcar Named Desire” at the Brooklyn Academy of Music. (Jasmine’s appalled aside about being forced to move to Brooklyn after being priced out of Manhattan amusingly suggests why he didn’t.) Whatever his inspiration, he has been rummaging around in the classics for decades, so his appropriation of “Streetcar” doesn’t surprise. What does is his reimagining Blanche by way of another figure who changes depending on how you hold her up to the light, Ruth Madoff, the wife of Bernard L. Madoff, the investor turned avatar of a fallen world. It’s a masterly stroke that puts Jasmine’s dissembling into fresh, chilling perspective.

The allusions to “Streetcar” are copious and obvious, and spotting the quotations initially feels like a kind of humorous parlor game, from the French connection that links Blanche and Jasmine’s names to Mr. Allen’s staging of a violent skirmish, which echoes a similar one in Elia Kazan’s film adaptation. Underscoring the resemblances, Jasmine repeatedly explains that “Blue Moon” was playing when she met Hal, memories that evoke the blue piano that, as Williams wrote in “Streetcar,” expresses “the spirit of the life which goes on here.” In the play, Blanche also says that Stanley isn’t the type who goes for jasmine perfume, an aside that carries an accusation.” – Manohla Dargis, NYTimes

ScreenPrism on the similarities between Blue Jasmine and A Streetcar Named Desire.

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Blanchett and Joel Edgerton in Liv Ullman’s production of A Streetcar Named Desire

Reviews of Cate as Blanche on Stage:

“What Ms. Blanchett brings to the character is life itself, a primal survival instinct that keeps her on her feet long after she has been buffeted by blows that would level a heavyweight boxer. Ms. Blanchett’s Blanche is always on the verge of falling apart, yet she keeps summoning the strength to wrestle with a world that insists on pushing her away. Blanche’s burden, in existential terms, becomes ours. And a most particular idiosyncratic creature acquires the universality that is the stuff of tragedy. All the baggage that any “Streetcar” usually travels with has been jettisoned. Ms. Ullmann and Ms. Blanchett have performed the play as if it had never been staged before, with the result that, as a friend of mine put it, “you feel like you’re hearing words you thought you knew pronounced correctly for the first time.” Blessed perhaps with an outsider’s distance on an American cultural monument, Ms. Ullmann and Ms. Blanchett have, first of all, restored Blanche to the center of “Streetcar.” – NYTimes

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‘Blue Jasmine’ Part 1 – Actor as Auteur

In the first of three episodes about Blue Jasmine, we discuss Cate Blanchett as the auteur of the film. Despite not writing or directing it, Blue Jasmine would not be as strong or even the same without her performance. Murtada‘s guest this week is writer and critic Matthew Eng.

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Follow along, the film is streaming at Amazon.

What is the film about?

From IMDB: A New York socialite, deeply troubled and in denial, arrives in San Francisco to impose upon her sister. She looks a million, but isn’t bringing money, peace, or love…

When did it come out?

July 2013.

Who does Cate play?

Jasmine of course. One of her many titular characters.

How is Cate introduced?

Immediately and memorably. Jabbering away about her life and marriage to a stranger on a plane, sets the tone for how unstable the character is.

Box Office: Domestic = $33MM         Int’l = $66MM

Metacritic : 78     RT: 91

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The most memorable one liner in Blue Jasmine? Without a doubt.

Topics discussed:

  • The actor as auteur. Despite not writing or directing Blue Jasmine, the film would not be as strong or even the same with the performance.
  • From the beginning we know this is going to be a performance driven film, Blanchett just holds the screen. I knew when she said to the cab driver “Can I have some privacy?” while trembling.
  • To prove our theory that Blanchett is in fact the author of the film; she pointedly thanked the dialect coach in her Oscar acceptance speech for “bringing Sally and I together,” notoriously Allen doesn’t rehearse or give feedback to actors, though he did tell her “you are awful.”
  • The work of the costume designer and the makeup artist in helping Cate craft this performance.
  • Charting what collection of pills and booze Jasmine’s on at all times, and manifesting that in voice, body movement, sweat… the beat before every lie comes out of her mouse.
  • Her performance in relation to the other actors? Blanchett’s always dominant in movies but the nature of this part showcases that more. 
  • The film starts with a mention of “Blue Moon” and ends with it too, how that makes the performance so poignant.
  • Matthew wrote about both Juliette Binoche and Meryl Streep as auteurs of their movies.
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The climax is heartbreaking. We discuss at length.

Famous quotes:

SO MANY. Who gets the credit Allen or Blanchett?

  • “I saw you, Erika.”
  • “What does that stupidity even mean?”
  • “Anxiety, nightmares and a nervous breakdown, there’s only so many traumas a person can withstand until they take to the streets and start screaming.
  • “Tip big, boys!”
  • “Who do you have to sleep with around here to get a Stoli martini with a twist of lemon?”
  • “I haven’t shown my face socially in so long”
  • “New York, Park Avenue”
  • “This was playing on the Vineyard. “Blue Moon”. I used to know the words.”

 Scenes we liked:

  •  Everytime Cate is on screen basically.

What seemed off :

  •  Computer-class subplot – in a lesser actor’s hand the tone deafness of this would be unforgivable. Yet I saw it as another way Jasmine is self-sabotaging.
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Great Performance. Great Win. Great Speech.

Film within context of Cate’s career:

Considered the pinnacle of her career, won many awards for it including her 2nd Academy Award. It was a return to movie after a 6 year hiatus running the Sydney Theter Company.

 What reviews said of film / Cate:

“Blanchett’s lavish, almost operatic turn as Jasmine sloshes against the sides of this insubstantial movie like liquid in a too-small container (maybe the room-temperature Stoli Jasmine is continually downing) There are many moments in which, as a viewer, you notice and admire Blanchett’s gestures and inflections, but very few in which you understand her deluded character’s motivations from the inside. She disintegrates beautifully before our eyes, not for any specific set of reasons the film maps, but because that’s what tragic heroines like Blanche DuBois are there to do.” – Dana Stevens, Slate

In Blue Jasmine, Allen is back in full-on sourpuss mode, even as he purports to be providing a grand showcase for Blanchett, the performance was touching in places, but it was also mannered and precise, like an artfully torn piece of silk. Blanchett strikes each note as precisely as if she were hitting the bars on a xylophone, and in this way, she fits into Allen’s schematic perfectly. Stephanie Zacharek, The Village Voice.

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Jasmine clearly hates everyone around her.

“The movie is almost meant to belong to Blanchett. Allen has set most of the film on her face and within her hopped-up, motormouth diction. The year thus far has been short on great performances. Blanchett’s belongs to a sadly exclusive club. She’s played Blanche DuBois on the stage. For Allen, she turns the character from a Southern belle into a Stockard Channing in Six Degrees of Separation. But it’s not snobbery she playing. It’s displacement. The separation is from reality. Allen makes use of Blanchett’s statuesqueness. In Ginger’s apartment, at that dentist’s office, in a taxicab, on the glamourless sidewalks of the Mission, Jasmine seems to be in the wrong Wonderland. Blue Jasmine is the searching Allen of Another Woman and Alice, and Jasmine is almost the sort of scornful id that Judy Davis was so good at playing for him. But where Davis came at the comedy with bile and Mia Farrow in Alice with whimsy, Blanchett is going for something unstable but secret. When Jasmine recalls the humiliation of a friend catching her working at a Manhattan shoe store and sneaking out, she goes hard and delirious: “I saw you, Erica Bishop!” Allen has always written good parts for women. This is one of the few to seem made of magic. You actually get the sense that Allen has let Blanchett go off on some kind of adventure, that he planted a seed and this is the wildflower that grew.” – Wesley Morris, Grantland

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Cate Blanchett as Katharine Hepburn in ‘The Aviator’

What happens when an icon of cinema takes on another icon? Well an Oscar for starters. This week we discuss Cate Blanchett’s performance as Katharine Hepburn in Martin Scorsese’s The Aviator (2004).

Host: Murtada Elfadl, some of Murtada’s film writing can be found here.

Guest : Manuel Betancourt, check out  his website for some of his writing.

Click to Listen:

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What is the film about?

From imdb: A biopic depicting the early years of legendary director and aviator Howard Hughes’ career from the late 1920s to the mid 1940s.

What year did it come out?

2004- released in the US in December, the rest of the world in 2005.

Who does Cate play?

Katherine Hepburn. From Sylvia Scarlett to Woman of the Year; 1935 -1940.

How is Cate introduced?

27 miutess in – long wait – Hughes lands on the set of Sylvia Scarlett, first close up with her hand shielding the sun – iconic. Then the golf scene. Gets the movie star treatment of course.

Box Office: Domestic = $102,610,330 Int’l =  $111,131,129.

Metacritic: 77. RT: 86.

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Topics discussed:

  •  Impersonation vs performance – did she get the emotions right? Was it just surface, all perfect accent work, perfect posing in the frame?
  • Who’s Cate’s classic mirror actress? Is it Hepburn? Bette Davis, I think of Blue Jasmine as a Davis film and Cate would’ve killed it in Jezebel or Of Human Bondage.. There are shades of Marlene Dietrich particularly in her androgyny and high glamour. 
  • It’s a series of big scenes / set pieces for Cate/Kate. Every single one a showcase for Cate, no wonder she won the Oscar.
  • Is this Cate’s riskiest performance? Daring to take on an icon in the same medium for which she was known and celebrated. 

“Representing Kate in the same medium, film, in which she existed was very daunting. But because she was so private and few people really knew her, we basically know Hepburn through her films. So of course you have to give a nod to her screen persona when playing her.”- Cate to the NY Times.

  • What constitutes risk in screen acting? Subject matter? Artistic merit / independence? Collaborators?
  • Hepburn’s legacy and screen persona.
  • How does this film fit into Scorsese oeuvre. 

Famous quotes by the character:

Do your worst Mr. Hughes.”

I’m Not Acting.”

Howard, there’s a rather alarming mountain coming our way

I sweat and you’re deaf

And from Leo “You are a movie star. Nothing more

Costumes we loved:

  • The green gown at the movie premiere is to die for.
  • At the club with Hughes and Errol Flynn.
  • The golf outfit.

Scenes we liked:

See above basically all of Cate scenes. Sylvia Scarlett set, Golf, the night club, plane, bathroom, Hepburn family, breakup and later on outside Hughes’ door.

What seemed off:

Basically everything after Howard and Kate break up.The energy left the movie with Cate/Kate. Or is it just me?

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Film within context of Cate’s career:

  • Her first Academy award.
  • Came at the tail end of a few years of films – with the exception of LOTR – that didn’t connect with audiences or critics.
  • Was the start of a few years in which she collaborated with top tier international directors: Soderbergh, Inarritu, Fincher.

Film within the context of year it’s been released:

Awards: Won 5 Oscars (Cate, Sandy Powell, Thelma Schoonmaker, Cinematography and Art Direction). Nominated for Best picture, director, sound mixing, screenplay, Leo and Alan Alda. Cate also won BAFTA, SAG and came in 2nd at National Society of Film Critics. Leo won GG.

What reviews said of Cate:

Cate Blanchett has the task of playing Katharine Hepburn, who was herself so close to caricature that to play her accurately involves some risk. Blanchett succeeds in a performance that is delightful and yet touching; mannered and tomboyish, delighting in saying exactly what she means, she shrewdly sizes up Hughes and is quick to be concerned about his eccentricities.”-  Roger Ebert.

a cheerfully stylized performance.”-  Stephanie Zacharek, Salon.

A merely imitative Cate Blanchett, horsy and cursing, “Hot Dawg!” – Ella Taylor, LA Weekly.

Before he stopped cutting his toenails and hair and spiraled into oblivion, Hughes earned a reputation as a serial romancer. Hepburn was only one of many conquests, but she plays a central role in “The Aviator” because she gets Mr. Scorsese closer to the black box at the center of the story. Ms. Blanchett doesn’t look a thing like Hepburn, a discrepancy she tries to overcome by adopting a purposeful gait and delivering an overblown approximation of the actress’s legendary lock-jaw. For the most part Ms. Blanchett sounds as if she’s channeling one of Hepburn’s own overblown performances. But she gives the story a shot of adrenaline and, more importantly, does her job by making Hughes seem palpably human. So much so that when she runs off with Spencer Tracy you feel her absence immediately.” – Manohla Dargis, The New Times.

This cockeyed romance, which lasts considerably longer in the film than it did in real life, proves as charming as it is unlikely, thanks in large measure to Blanchett’s dead-on rendering of the star’s hauteur and vocal peculiarities.Todd McCarthy – Variety.

Cate in relation to these co-stars, director, costume designer:

  • Only collaboration so far with Scorsese and Di Caprio.
  • First collaboration with Sandy Powell, who’ll go on to costume Cate in Carol And Cinderella.

Press coverage:

  • 2nd of ultimate 5 Vogue covers coincided with the release of this film, Dec 2004.

NYTimes profile:

It’s such a brave performance by Cate, with the accent and mannerisms, that naturally there are those who will feel a certain way about it,” said Mr. Scorsese, who had been impressed with the actress’s “precision and boldness” since “Elizabeth” and considers Ms. Blanchett’s role in “The Aviator” one of the most “daunting in the film, even if some younger viewers won’t know who the real Katharine Hepburn was.

  • Great insight in the article on how she found Hepburn’s voice.

Some fashion moments:

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Cate Blanchett in ‘The Talented Mr Ripley’

This week we continue examining Cate Blanchett’s early career by reviewing The Talented Mr Ripley (1999), directed by Anthony Minghella.

Host: Murtada Elfadl, some of Murtada’s film writing can be found here.

Guest: Jose Solis, some of Jose’s writing can be found here. Listen to his theater podcast, Token Theater Friends.

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Follow along, the film is available on HBO/HBO Max.

What is the film about?

Based on the novel by Patricia Highsmith.

IMDB: In late 1950s New York, Tom Ripley, a young underachiever, is sent to Italy to retrieve Dickie Greenleaf, a rich and spoiled millionaire playboy. But when the errand fails, Ripley takes extreme measures. The cast includes Matt Damon, Jude Law, Gwyneth Paltrow, Philip Seymour Hoffman and Jack Davenport.

When did it come out?

1999, Christmas day in the US. Throughout 2000 in the rest of the world.

Who does Cate play?

Meredith Logue, a wealthy heiress travelling in Italy. A character created for the film.

She’s 4th billed, first after the title. Damon, Paltrow and Law are above the title.

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How is Cate introduced?

8 Minutes in, flummoxed amid a hazy blur of luggage as Ripley arrives in Italy. “What’s your secret?” her first words to Tom.

Topics Discussed:

  • Queer themes… explicit/ not explicit.  
  • Identity “I’d rather be a fake somebody than a real nobody.
  • Class Jealousy.
  •  The American Dream.
  • Meredith Logue is a character created by Minghella for the movie and is not in the book. 
  • Favorite moments for the other actors; Damon, Law, Hoffman and Paltrow.
The cast of "The Talented Mr. Ripley" pose at the
The cast of “The Talented Mr. Ripley,” Matt Damon,  Jude Law, Philip Seymour Hoffman, Cate Blanchett, Gwyneth Paltrow, in Los Angeles, December 1999.

Costumes we loved:

Blue coat when shopping with Tom.                         At the opera. 

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Awards:

Oscars: Nominationss for Law, Adapted Screenplay, Costumes, Score, Art Direction.

Golden Globes: Drama Film, Director, Damon, Law, Score.

BAFTA: Law for Supporting Actor and Gabriel Yared for Score won. Cate was nominated. Also nominated for Picture, Director, Screenplay and Cinematography.

Film within context of Cate’s career:

Her follow up to big breakout of Elizabeth (1998). 

Gained more resonance when Cate played another Highsmith creation in Carol (2015)

Cate has a knack for taking on smaller parts see also Babel (2006), The Shipping News (2001).

Legacy:

Well reviewed but not ecstatically at the time, it has been elevated in estimation throughout the years, in large part because of the subsequent huge careers of the young actors who starred. Matt Damon, Jude Law, Gwyneth Paltrow, Philip Seymour Hoffman and Cate. Aesthetics have also stood the test of time. The clothes, the attitudes, sun soaked Italy.

What reviews said of film / Cate:

Meredith is a needy post-debutante played irresistibly by Cate Blanchett.” – Janet Maslin, NYTimes.

Damon, who does an uncanny imitation of Chet Baker’s androgynous rendition of “My Funny Valentine,” but Minghella keeps him on a short leash, and he’s in over his head anyway. Law queens his way through the supposedly straight role, and Gwyneth Paltrow is more tiresome than usual indulging her specialty of scrunch-faced, tearless crying. On the other hand, Philip Seymour Hoffman is exactly on the mark as a supercilious preppie, as is Cate Blanchett as a floundering heiress. It’s a sign of how watered-down the movie is that only the supporting actors have any bite.” – Amy Taubin-The Village Voice.

Cate Blanchett fills her small role with note-perfect detail.” – Lisa Schwarzbaum- EW.

The women are very underwritten. Paltrow is peaky and pallid; Blanchett does her very considerable best with Meredith, though yet again I wonder if anyone is ever going to give her a role to equal Elizabeth.” – Peter Bradshaw – The Guardian

Trivia discussed:

Cate and Julianna Margulies with Hoffman at the premiere (video).

Some of the fashion discussed in this episode:

Cate at the Oscars in 2000, in Lacroix at an event in 2010, in Balenciaga at the Blue Jasmine premiere in 2013.

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Cate Blanchett in ‘Elizabeth’

For our first episode of the podcast, we review Elizabeth (1998), directed by Shekar Kapur. This film is considered to be Cate Blanchett’s international breakout and the first time many people have ever seen her on screen.

Host: Murtada Elfadl, some of Murtada’s film writing can be found here.

Guest : Teo Bugbee, some of Teo’s film writing can be found here.

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What is the film about?

From imdb: The early years of the reign of Elizabeth I of England and her difficult task of learning what is necessary to be a monarch.

Directed by Shekar Kapur; also starring Richard Attenborough, Geoffrey Rush, Joseph Fiennes, Emily Mortimer, Kelly McDonald and Daniel Craig.

What year did it come out?

1998 – first played at Venice in September. US limited release in November 1998, wide in February post Oscar nominations.

Who does Cate Blanchett play?

Duh – top billed. 

How is Cate introduced?

7 minutes in, dancing in a field among her ladies in waiting.

Box Office: Domestic = $30,082,699 (36.6%), Int’l = $52,067,943 (63.4%).

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Coronation time for Blanchett as Elizabeth I

Topics discussed:

  • Then vs now. Seen then as a new transformative dynamic violent and sexy take on history; different spin than usual polite masterpiece theater drama. That take doesn’t hold as much now since we’ve seen many other historical dramas and of that story in particular.
  • Historical veracity :  “I had to make a choice whether I wanted the details of history or the emotions and essence of history to prevail,” said Kapur.
  • Cate made a point in interviews at the time that this was an interpretation of English history made by outsiders from the commonwealth; an Indian and an Australian.
  • Elizabeth growing up into a wily politician; does the performance get us there? Are the behind the scenes political machinations the reason this film was resonant at the time?
  • The tone of the other performances e.g Vincent Cassel.
  • Joseph Fiennes vs Ralph Fiennes.
  • Is it camp? 
  • The Godfather (1972) comparison – many reviews pointed that out, and Kapur himself admitted that he modeled the ending after it. 
  • The gestural quality of Cate’s performance particularly in the quiet scenes where she thinking or wistfully looking at the distance. 
  • The ending is memorable and plays well with the image we know of Elizabeth.
  • Anne Hathaway on Cate – “It changed my life (Cate Blanchett in Elizabeth). There’s a scene where she does this little nose sniff and, I swear to God, I spent the first 6 years of my on-camera career trying to reproduce it. I never succeeded. People kept saying ‘Do you need a tissue?’
  • How the film compares with another film about European royalty, Queen Margot (1994).
  • There’s a lot of conversations about Elizabeth being a woman in a man’s role. What is the film trying to tell us?

Film within context of Cate’s career:

  • International breakout. Probably the first time many people – including me – saw her. 
  • Cemented her reputation as somebody to watch, someone who will have a long career and is a star actor. Don’t think anyone would watch it now for any other reason.

Awards: Nominated for 7 Oscars: Best Picture, Cate, Makeup ( Jenny Shircore won), Cinematography, Costumes, Production Design, Score. 

  • Cate won Golden Globe and Bafta.
  • It was the Oscars of 2 Elizabethan movies (also Skakespeare in Love).
  • Whoopi Goldberg came out dressed as Elizabeth at the Oscars “I am the African queen, some know me as the virgin queen… I don’t know who.”

More on Elizabeth and the 1998 Oscar race for best actress.

What reviews said of film / Cate:

Blanchett’s triumph is to create a thoroughly convincing depiction of the journey from canoodling girlhood to the threshold of an imperial monarchy, battling her fears, shedding illusions, absorbing pain, learning judgment, turning anxiety into resolution, acquiring steel and sinew.”- The Guardian.

the captivating Cate Blanchett rules England in “Elizabeth” as if the monarch’s principal responsibilities were being bejeweled, choosing consorts and saying “Leave us!” with a wave of the hand.” – Janet Maslin NY Times.

More from Maslin “Ms. Blanchett, who was marvelous in “Oscar and Lucinda,” brings spirit, beauty and substance to what might otherwise have been turned into a vacuous role. Still, it’s jarring when the Queen dances in the midst of admirers as if this were “Saturday Night Fever” or sounds an awful lot like Tootsie when she declares: “I may be a woman, Sir William. But if I choose, I have the heart of a man!” Ms. Blanchett’s flouncing Elizabeth is bolstered by an impressive supporting cast, though the secondary characters engage in so many schemes that you may wish Bill, that nice new playwright from Avon, would drop into the film and make more sense of the dramaturgy.

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Blanchett as Elizabeth delivering one of many monologues in the film

But there’s more hot blood running through the veins of this opulent production than its A&E-style subject matter might suggest. This is a sensual, psychologically modern costume drama influenced by both The Godfather and gals’ guides to empowerment; beneath the finery of these schemers beat hearts as up-to-date as any on a TV drama, assuming a TV story line allows for beheadings.” – Lisa Schwarzbaum, EW.

What it gets right is the performance by Cate Blanchett, who was so good as the poker-playing glass manufacturer in “Oscar and Lucinda” (1997) and here uncannily comes to resemble the great monarch. She is saucy and heedless at first, headstrong when she shouldn’t be, but smart, and able to learn. By the end she has outsmarted everyone and become one of the rare early female heads of state to rule successfully without an alliance with a man.” – Roger Ebert

Elizabeth” is superior historical soap opera that shrewdly side steps all the cliches of British costume drama with its bold, often modern approach.”- David Rooney, Variety.

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Cate Blanchett at the 1999 Oscars

Press coverage other than reviews; NY Times profile:

Mr. Kapur, speaking on the phone from Delhi, said: ”Cate has a combination of strength and vulnerability, which, for me, is what Elizabeth was all about. She attacks a role with a ferocious intellectuality. You can’t pass anything by her, you can’t sweet-talk her into anything. But inside, she is all emotion.”

This vigor also struck Eccleston, who, as the Duke of Norfolk, plays one of Elizabeth I’s chief adversaries. ”There is a directness and gutsiness about Australian women that is great for the film industry, and that was great for Cate playing the monarch,” he said. ”I think that role would have defeated a lot of our middle-class English roses.”

Not many other in the archive… there’s a lot of coverage in 1999 and 2000; post her big breakout when she was appointed as the next big thing because of Elizabeth.

Closing Quote:

Brenda Blethyn at the Golden Globes where Cate won; she was nominated for Little Voice.

I only went to see Elizabeth (1998) because of Cate Blanchett. I thought she was absolutely fabulous and I was delighted she won. I think she’s a fabulous actress. I’m not altogether sure about the film but I did enjoy it, primarily because of her… she’s fantastic.”

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