A witch and a warlock teach an orphan boy how to becme a magician in The House with a Clock in its Walls, one of Cate Blanchett’s more curious film choices. We discuss her performance, what makes co-star Jack Black special on screen and briefly touch on the response to her two films on release. For this conversation Murtada welcomes filmmaker and podcaster Chels, from Untitled Cinema Gals to the podcast.
Contemporary actresses who played witches include Cher, Susan Sarandon, Michelle Pfeiffer(The Witches of Eastwick)Meryl Streep (Into the Woods), Anjelica Huston (The Witches), Nicole Kidman and Sandra Bullock (Practical Magic), Tilda Swinton (The Chronicles of Narnia). Who’d win in a battle?
We celebrate the annoucement of Blanchett’s collaboration with Pedro Almodovar for an adaptation of Lucia Berlin’s A Manual for Cleaning Women.
There’s a comet hurtling towards earth and a bunch of movie stars at trying to not look up at it. To discuss Cate Blanchett’s second movie this holiday season -Adam McKay’s climate change satire Don’t Look Up– Murtada welcomes critic Boyd van Hoeij from The Film Verdict to the podcast.
Don’t Look Up is being sold as a cross between Dr Strangelove and Network. Are the similies spot on?
The targets of the satire – incompetent governments, media, tech billionaires, populace believing in politics not science – are obvious. There’s a shorthand that makes each character’s real world avatar easy to get hence the laughs but does that undermine the film’s intelligence?
Huge cast – Leonardo DiCaprio, Meryl Streep, Jennifer Lawrence, Rob Morgan, Tyler Perry, Jonah Hill, Ariana Grande, Mark Rylance, Timothée Chalamet… and more? Who’s funny? Who’s annoying? Who’s unmemorable? Who brought the heart and pathos? Who stands out?
Leo’s big Peter Finch-like monologue. Does it work?
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?
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.
“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.
2nd of ultimate 5 Vogue covers coincided with the release of this film, Dec 2004.
“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.