Cate Blanchett in ‘The Man Who Cried’

Glamour! Big Acting ! An Accent! A few hallmarks of Cate Blanchett’s performances that we love are present in Sally Potter’s The Man Who Cried (2001). It’s a commanding star turn that shows Blanchett at her best, and for that the movie is a must-see for every Blanchett fan. We discuss the film and performance. Plus revisit Mrs. America and the show’s chances at the winter TV awards (Golden Globes and SAG).

Hosted by Murtada Elfadl with guest Nathaniel Rogers of The Film Experience.

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What is the film about?

From Wikipedia: A Russian Jewish girl (Christina Ricci) is separated from her father in 1927 and escapes to England, where she’s rechristened Suzie. She grows up to be a singer in a Parisian theater populated by a glamorous Russian dancer (Cate Blanchett), an egotistical Italian tenor (John Turturro) and a handsome horseman (Johnny Depp). When the Nazis invade France, however, Suzie’s life is suddenly in danger, and she attempts to flee to the United States, where her father moved years earlier.

Who does Cate play?

Lola, a glamorous Russian dancer.

How is Cate introduced?

20 minutes in as the star attraction amidst a chorus of dancers. after she finishes the dance, she winks directly at the camera and the audience.

What year did it come out?

 Premiered at Venice September 2000. US release May 2001.

Box Office: Domestic = $747K Int’l = $575K

Critical Response: Metacritic : 40 RT: 35

Topics Discussed: The Man Who Cried

  • This movie hardly made a ripple in 2001. It is one of the very few Cate performances that I have never watched until now. Very hard to find…. youtube is your friend (wink).
  • Sally Potter as a distinctly visual filmmaker.
  • One of Cate’s early roles. Does the star quality appear? Of course, in fact this is a must-see for any Cate Blanchett fan because it shows her total command and allure as a screen star.
  • NBR awarded Cate best supporting actress for 2001 body of work including this, LOTR and The Shipping News
  • Again a very physical full bodied performance – a theme we’ve talked about on this podcast. There’s a nervous energy to it though. Lola is always moving, gawky, not graceful like some of her other characterizations.
  • Memorable look; albaster skin, red cherry lipstick, very blond hair – so very noticeable
  • Cate the droll comedian, we dig deep into one scene; when telling the rules of seducing men… “without my looks I wouldn’t have gotten out of Russia.”
  • Lola is a tragic figure . We talk about how Cate makes her so with emphasis on a couple of other scenes.
  • One of a few movies that Christina Ricci headlined – what do we think of her?
  • What’s with all the brooding Johnny Depp on horseback scenes – for a while both he and Ricci are silent in their scenes together.

Film within context of Cate’s career:

2000 – 2001 was the time when the choices she made post her breakout with Elizabeth began appearing for audiences. She chose a few supporting roles; all of them very far from that monarch and one lead role in The Gift (2000); previously discussed.

What reviews said of film / Cate:

“Blanchett’s role is the dazzler: Rolling her eyes, shrugging her shoulders and flinging her long limbs about insouciantly, she’s the soul of studiously artificial glamour, whether shimmying in a trashy revue or bewitching an unwary suitor.” – Maitland McDonagh, TV Guide.

“The movie is like a series of climactic moments from a World War II mini-series strung together without the undercurrents that might build character: it’s all big moments, the world’s longest and most sincere trailer. In fact, the title character doesn’t even appear until the end of the picture. (Before that the film should be called ”The Woman Who Cries,” since Ms. Ricci’s trembling chin gets quite a workout.)

With accents heavier than the melodrama going on around them, Ms. Blanchett and Mr. Turturro add comic weight and warmth as two predators sizing each other up before they realize they’re the same species.” – A O Scott, NYTimes.

“Ironically, in the midst of all this high caloric camp, the one performer who escapes with her dignity, Cate Blanchett, does so not by underacting but by getting in full shameless touch with her miscast inner ham. As Lola, a transplanted Moscow gold-digger with a borscht thick accent and lips as glossy red as the inside of a chocolate covered cherry, Blanchett is like Mata Hari played by Gwen Stefani impersonating Veronica Lake. It’s hard to take your eyes off of acting this knowingly overripe.”Owen Gleiberman, EW

Topics Discussed: Mrs. America & miscellaneous

  • Last time we talked Mrs. America was about to be released – our thoughts on the series.
  • Cate’s performance on the show is a major career highlight. Check out our recaps of the show.
  • Awards chances for Cate and the show at the upcoming winter awards (Glden Globes and SAG).
  • Looking forward to Nightmare Alley and her collaboration with Guillermo Del Toro and Bradley Cooper.

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Cate Blanchett in ‘Mrs. America 4-5’ Podcast Recap

We continue recaping and reviewing Hulu’s Mrs. America starring Cate Blanchett. This week we tackle episodes 4 and 5 dealing with Betty Freidan (Tracey Ullman) and Brenda Feigen Fasteau (Ari Graynor) debating Phyllis Schlafly (Blanchett). Hosted by Murtada Elfadl with guest staff writer at Backstage, Casey Mink.

Logo - Mrs America 4-5

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What is the show about?

Official Synopsis: “Mrs. America tells the story of the movement to ratify the Equal Rights Amendment (ERA), and the unexpected backlash led by a conservative woman named Phyllis Schlafly, aka “the sweetheart of the silent majority.” Through the eyes of the women of the era – both Schlafly and second wave feminists Gloria Steinem, Betty Friedan, Shirley Chisholm, Bella Abzug and Jill Ruckelshaus – the series explores how one of the toughest battlegrounds in the culture wars of the 70s helped give rise to the Moral Majority and forever shifted the political landscape.

Who does Cate play?

Phyllis Schlafly.

Critical Response: Metacritic : 87  RT: 95

Topics discussed:

Tracey Ullman as Betty Friedan

Ep 4 – Betty

Official Synopsis: “As Stop ERA grows and gains media attention, Betty Friedan, the mother of the Feminist movement, makes it her mission to take down Phyllis.” Written by Boo Killebrew; Directed by Amma Asante (Belle, A United Kingdom).

  • The parallels between the personal lives of Betty and Phyllis showing them both with their daughters. Great scene with Betty’s daughter and her ex-husband’s new wife.
  • The ending – Gloria thanking Betty for her leadership – brought me to tears. This show has great episode endings.
  • The race question comes up again – John Birch Society “I think you should just keep that to yourself.” 
  • ‘Tokenism ” scene with Bria Samoné Henderson as Maragaret Sloan.
  • Episode brings into forefront the fractions in the women’s movement both between Betty and Bella/Gloria and within the black women’s movement as evidened by the Sundays at Flo’s scene.
  • Phyllis’ prep scene with her husband.

Ari Grayor as Brenda Feigan Fasteau with Rose Byrne as Gloria Steinem

Ep 5 – Phyllis & Fred & Brenda & Marc

Official Synopsis: “Phyllis and Fred Schlafly debate superstar Feminist couple Brenda and Marc Feigan-Fasteau on television.” Written by Micah Schraft & April Shih; Directed by Laure de Clermont Tonnere (The Mustang). 

  • The title is homage to the film Bob & Carol & Ted & Alice which closed also with “What the World Needs Now.”
  • The debate scene led to a big fraction in the Schlafly’s marriage. Phyllis does exactly what she wants even after being called submissive on national TV.
  • Phyllis actually wins by the end since Illinois doesn’t ratify the ERA yet the show subtly handles that. Couple that with Fred saying many people don’t want the ERA to pass, showing us Phyllis as what Brenda called her, a puppet for special interests.
  • The show weaves in different depictions of marriage – Phyllis and Fred, Brenda and Marc and Gloria and Franklin – to comment on the institution.
  • The scene with Phyllis and her son “you have to be careful”.

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John Slattery and Cate Blanchett as Fred and Phyllis Schlafly


  • These two episodes can be subtitled “The Lavendar Menace” as there are many queer themes and characters. John Schlafly, Margaret Sloan, Brenda Feigan Fasteau, Jules the photographer.
  • Cate’s performance – the faces she makes after Fred calls her submissive on TV. Gestural acting bonanza; finger through teeth, slapping herself. 
  • Tracey Ullman and Ari Graynor performances.
  • The show doesn’t tell all the stories, we have to wikipedia some info e.g.“Where’s Kate Millet now?”
  • The show has yet to comment on Gloria having a Black boyfriend; they are presented as a couple with nary a comment from another character or them talking about it. Is it progress or avoidance?
  • Casey would like to see Cate on stage with Katrina Lenk, we briefly discuss Lenk’s sublime recent rendition of Stephen Sondheim “Johanna.”

Reviews of Episodes 1 through 3 are also available.

Ari Graynor and Adam Brody as Brenda Feigan Fasteau and Mark Feigan Fasteau

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