This week we go back to almost the beginning of Cate Blanchett’s illustrious career with Pushing Tin (1999). To discuss Mike Newell’s film and the performances of Blanchett, Angelina Jolie, John Cusack and Billy Bob Thornton, Murtada welcomes to the podcast Mitchell Beaupre, senior editor at Letterboxd.
This cast! Blanchett, Angelina Jolie, John Cusack and Billy Bob Thornton. Where they were in 1999 and where they are now.
The Blanchett look – the fringe, the earrings, the makeup – very Jersey.
Unforgivable that they had Blanchett and Jolie and did not give them at least one meaty scene together. Their only interaction is a brief one with the other “wives.”
Mike Newell from Four Weddings (19944) to Donnie Brasco (1997) to this. He was on a roll. Was this the film that derailed him? His follow-ups are all flops – Mona Lisa Smile (2203), Love in the Time of Cholera (2007) and Prince of Persia (2010).
Sometimes plays like an anthropological look at a certain frat bro culture. The one upmanship, the competitiveness, the explanation of what ”being a man” is,
“He said attractive?” – Cate’s best moment.
Pre 9/11 – so much shenanigans that would never happen around planes these days.
This week we tackle one of Cate Blanchett’s weirdest roles, that of an injured American tourist traveling in Morocco in Babel (2006). To discuss Alejandro González Iñárritu’s film and Blanchett’s penchant to sometimes take on small supporting parts, Murtada welcomes to the podcast Zita Short, critic for InSession Film and Jumpcut Online and host of The 300 Passions Podcast.
This week we go back to Cate Blanchett’s early career and another one of her “titular” roles, playing Irish journalist Veronica Guerin (2003). To discuss Joel Schumacher’s film, Murtada welcomes illustrator and designer Dash Silva to the podcast. This wide ranging conversation also covers Blue Jasmine, The Aviator, the accent work of Meryl Streep and a few of this year’s best actress awards contenders including Lady Gaga, Jessica Chastain and Kristen Stewart.
From Wikipedia: The film’s about Irish journalist Veronica Guerin, whose investigation into the drug trade in Dublin led to her murder in 1996, at the age of 37.
Who does Cate play? Veronica Guerin – another one of her “titular” roles.
How is Cate introduced? 2 mins in court defending herself as a reckless driver. It’s an exciting prelude before the film goes back 2 years to tell the story.
What year did it come out? 2003
Box Office: US $1.5MM, rest of the world $ 7.8MM Critical Response: Metacritic: 55 RT: 53
Guerin is a major figure in Ireland, the film came just a few years after her murder and tries to capture the legend.
A clear good vs. evil narrative. Does it get at the complexity of the story?
The portrayal of Guerin as dogged, focused, intimidating and intimidated, brave and frightened. Many notes for Cate to play.
An odd choice for Joel Schumacher or is it? He seems to make many different genres of film. Best known for Batman Forever and Batman & Robin, he also directed a musical (The Phantom of the Opera), thrillers (8MM and Falling Down), melodramas (Dying Young and Flawless) and even a rom-com (Cousins). This is his Erin Brockovich.
Since Cate does an Irish accent here let’s pit her against the Accent Queen; Meryl Streep. Irish (Dancing at Lughnasa), Italian (The Bridges of Madison County vs. Cate actual Italian in Heaven ), English (Plenty vs. Notes on a Scandal).
Oscar winner Brenda Fricker (My Left Foot) and current Oscar hopeful Ciaran Hinds (Befast) are in the cast. Plus a Colin Farrell cameo ( a meta joke since they talk about Eric Cantana who’s in Elizabeth).
This year’s best actress hopefuls; Lady Gaga in House of Gucci, Kristen Stewart in Spencer and Jessica Chastain in The Eyes of Tammy Faye.
What critics said at the time:
Cate Blanchett plays Guerin in a way that fascinated me for reasons the movie probably did not intend. I have a sneaky suspicion that director Joel Schumacher and his writers (Carol Doyle and Mary Agnes Donoghue) think of this as a story of courage and determination, but what I came away with was a story of bone-headed egocentrism. There are moments when Guerin seems so wrapped up in her growing legend and giddy with the flush of the hunt that she barely notices her patient husband, who seems quite gentle, under the circumstances, in his suggestions that she consider the danger she’s in and think of their child. – Roger Ebert.
We have a special episode this week, a companion to our discussion last week of Notes on a Scandal. We visit with the Dame, Judi Dench. We discuss her film career, with deep dives into an early entry A Room With a View (1986) and the film that launched her film stardom Mrs. Brown (1997). Returning for this conversation with our host Murtada Elfadl is writer and critic Teo Bugbee.
A scandalous affair with an underage boy is the entry into this melodrama about the friendship between two teachers in North London. Murtada Elfadl welcomes back Teo Bugbee to discuss the juicy and delicious Notes on a Scandal, its lineage to hagsploitation flicks like Whatever Happened to Baby Jane?, the trope of the predatory lesbian, and why this film remains highly rewatchable.
From imdb: A veteran high school teacher befriends a younger art teacher, who is having an affair with one of her fifteen-year-old students. However, her intentions with this new “friend” also go well beyond a platonic friendship. Adapted by Patrick Marber from Zoe heller’s novel, directed by Richard Eyre.
What year did it come out?
Who does Cate play?
Sheba Hart – a “bourgeoisie bohemia” teacher who embarks on a friendship with a fellow teacher and a disastrous affair with a student.
How is Cate introduced?
3 minutes in. The outsider coming in as the new art teacher in school, a “hard to read wispy novice.” Flustered and a bit late.
Judi’s voice over is delicious, cuts like a sharp knife. I want to quote ALL of it. A gold star performance.
Sheba is unlike the characters that Cate usually plays. Many of those are “exceptional” people, Sheba is messy and foolish. The vagueness in the performance fits the character, she’d even described as someone without substance “a sort of absent person.”
The trope of the repressed predatory lesbian – does the film interogate it? And the differing reactions to it from the hosts; a gay man and a lesbian.
There a mineage to the the tradition of hagsploitation pictures like Whatever Happened to Baby Jane?
Barbara Covett vs. Tom Ripley from The Talented Mr. Ripley. Why we identify with one as queer people and not the other?
The lunch visit which sets up the class conflict that the film is trying to depict, also sets up the vast difference between how Barbara (makes an effort, gets dressed up) and Sheba (no effort at all, casual, doesn’t think about it) see their friendship.
Other scenes discussed:
”Dordogne” post the big confrontation.
Bill Nighy wonderful when asking Sheba why she didn’t ask him for help after the affair’s reveal.
Awards: Cate was nominated for Oscar, Golden Globes, and SAG losing to Jennifer Hudson in Dreamgirls. So was Judi + Bafta losing to Helen Mirren in The Queen. The Oscars also nominated Patrick Marber’s script and Philip Glass’ score.
“In a pre production discussion for last year’s “Notes on a Scandal,” Richard Eyre says he got off to “a slightly sticky start with Cate.” He told me, “She’d had one session with a dialect coach, and was she going to have another? I was worried about whether she’d be class-specific. Her character is kind of upper-middle bohemian. I wanted the distinction between her and Judi Dench’s character, who is petit bourgeois, to be clear.” Eyre continued, “I think she thought I was over concerned with the externals instead of the psychology.” “He was really worried about the issue of class,” Blanchett explained. “ ‘Richard,’ I said, ‘I need to work on it because I’m not a mimic. I need to sit down and work on it.’ So the accent became an issue, when I didn’t want to focus on the accent but on the meat of things.” No sooner were Eyre’s words out of his mouth than he realized that he’d made a mistake. “I was sitting in my kitchen and talking. She said, ‘Don’t you think I can do this?’ ‘ Eyre said. “She was upset. I must have been eroding her self-confidence. I felt as bad as I’ve ever felt. I apologized. She didn’t extract revenge.”
Marber recalls, “I put this line in it, ‘Where did you get my hair? Did you pluck it from the bath with some special fucking tweezers?’ She said, ‘I don’t want to say that line. It’s too funny. It will corrupt the tone of where Sheba’s at.’ We hammer-and-tonged it for about ten minutes. Eventually, I said, ‘Oh, please, just please.’ I think she felt compelled to concede to the writer, even if he was a bloody idiot. I think that’s because she’s come from the theatre.”
For this episode we visit with Cate Blanchett among the ruins of 1945 Berlin in Steven Soderbergh’s re-creation of a 1940s melodrama, The Good German. A film and performance we consider to be Blanchett’s most underrated. Hosted by Murtada Elfadl with guest Megan McGurk, host of Sass Mouth Dames podcast.
Follow along, The Good German is available on Vudu.
What is the film about?
While in post-war Berlin to cover the Potsdam Conference, an American military journalist is drawn into a murder investigation which involves his former mistress and his driver. They knew each other before the war, and now she is his driver’s mistress. What a coincidence or is it? There’s a murder investigation, deep secrets about what happened during the war that the characters carry with a great deal of shame.
Who does Cate play?
Lena Brandt, a German “stringer” caught in the chaos of post WW2 Berlin, holding a deep mystery about what she went through during the war.
How is Cate introduced?
6 minutes in, out of the shadows and into the light center screen. Great intro reminiscent of how 40s stars were introduced. Though just before that she’s shown body, no face in bed with Maguire.
Blanchett’s performance as the center holding the film. The baton is passed from Tobey Maguire who opens the film to Clooney and finally to Blanchett revealing the story as hers.
Soderbegh set out to make a film that looked and sounded like an old studio picture, but without the old studio prohibitions so sex and profanity. Using period camera lenses and sets, attempting to mimic the classic studio style, through deliberate editing patterns and fairly restrained camerawork.
The film is notorious for how it completely failed; both with critics and audiences. We examine why. Was it because it was in black and white? The high stylization and deliberate pace? The not-so-happy ending?
Cate leans into exaggerated gestures and fluid theatrical body movements.
Cate’s look, dark hair, red lipstick against the period black and white cinematography might be the best she’s ever looked on screen.
Because of the obvious allusions to Casablanca (1942) this performance was compared to Ingrid Bergman’s, other critics mentioned Marlene Dietrich, citing Billy Wilder’s A Foreign Affair (1948). We also talk about Dietrich in Dishonored (1931) and Bergman in Arch of Triumph (1948). Cate acknowledged screening many 40s movies.
Her chemistry with George Clooney. Playing illicit doomed lovers, the screen must smolder if the bond is to be believed.
George Clooney – he loves Cate but their luck in movies is bad. See also The Monuments Men (2013), another WW2 story. His performance is anti-leading man since he’s being constantly beaten up.
“I survived,” gives Cate the chance to play a range of emotions.
“You can never really get out of Berlin,” romance and longing.
Film within context of Cate’s career:
Two years from her first Oscar win for The Aviator (2004), Cate was busier than ever in 2006. She also had Babel and Notes on a Scandal released within weeks of this film. In an interview with NPR she apologized for “being very present at the moment.”
What reviews said of film / Cate:
“a vamping Cate Blanchett, recalls Rainer Werner Fassbinder’s postwar heroine Veronika Voss by way of Carol Burnett.”- Manohla Dargis, NYTimes.
“With dead dark eyes, a dramatic slash of a mouth and a sullenness that encases whatever is left of her heart and soul, Lena is a vivid, if not exactly unique, creation, and Blanchett soon all but disappears into the forlorn, desperate character. She summons shades of Dietrich, to be sure, but brings Lena fully to life, at least to the extent she has life left in her.” – Todd McCarthy, Variety.
Blanchett told Reuters, “I had to use my own resources and invent my own version, because what was the point of imitating Marlene Dietrich, she does it perfectly herself.”
In an interview with The Guardian, she said of the film: “It’s quite Brechtian, and the emotions are handled in that Forties way. There’s no introspection in Forties films unless it’s expressed externally, and that was really challenging. It’s not melodramatic, it’s what people do. Often, George [Clooney] and I would say, ‘Whoa, that felt eggy’ – it felt like you’ve got egg on your face – and Steven said, ‘If it doesn’t feel eggy, you’re not there.’ We just had to go for it.