Episode 13 – Cate Blanchett in ‘Heaven’

That heart wrenching closeup. That iconic buzzcut. That performance many think is one of Cate Blanchett’s best. This week Murtada welcomes Kyle Stevens to discuss Heaven (2002), directed by Tom Tykwer.

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What is the film about?

From IMDB: A woman takes the law into her own hands after police ignore her pleas to arrest the man responsible for her husband’s death, and finds herself not only under arrest for murder but falling in love with an officer.

What year did it come out?

October 2002.

Who does Cate play?

Philippa an English teacher living in Turin, Italy who carries out a vengeful act.

How is Cate introduced?

A few minutes in as Phillippa prepares for her quest.

Box Office: Domestic = $784,399 Int’l = $3,462,690

Metacritic : 68 RT: 74

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Topics Discussed:

  • Conceived as a  new trilogy: Heaven, Purgatory and  Hell from director Krzysztof Kieslowski and his writing partner, Krzysztof Piesiewicz who made Blue, White and Red.
  • What could’ve been if Kieslowski didn’t pass on before making it?
  • The first few minutes Blanchett body movement looks nothing I’ve ever seen from her. Usually she glides into the frame, here she awkwardly walks, sometimes even waddling. 
  • Beautiful visuals… the look is sometimes breathtaking …
  • Jarring to native Italian speakers? I trust Cate with accents 
  • The plot is facile, easy but is that part of the fable , the unreality of it 
  • The ending – did they ascend literally to heaven?
  •  Ribisi – yay or nay?
  • Revisiting Elizabeth (1998)

Scenes we liked:

  • The interrogation scene. Long, fantastic,  The emotions on her face as she realizes the truth. That perfect fall to the floor as she’s overwhelmed… the polar opposite of getting up from the floor on Carol. Yet both show us how remarkable she is at using her to act and give us beautiful images at the same time.
  • The confession in the church scene specially her reaction to Ribisi saying “I love you.”

What seemed off:

Did the film successfully mix the grounded visceral elements of its story with the dreamy metaphysical ending?

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Film within context of Cate’s career:

  •  From all the early 2000s films she made, this is the only one remembered fondly.

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

  • This was a Miramax release in the year of The Hours, Gangs of New York and Chicago – so we assume it got lost in the shuffle.

What reviews said of film / Cate:

“In ”Heaven” the Australian dramatic chameleon Cate Blanchett gives the most compelling screen performance of her career as a principled terrorist whose desperate act of violence tragically backfires, leaving her broken and reeling with despair and self-loathing.

As her character, Philippa, a recently widowed young English teacher living in Turin, Italy, disintegrates, Ms. Blanchett registers a wrenching series of quick emotional changes. Upon learning that her carefully plotted act of vigilantism has resulted in the deaths of innocent people, her defiance gives way in seconds to shock, then to horror, then to self-realization so painful that she doubles up and crumples onto the floor, unconscious.

Although Ms. Blanchett’s face has always registered emotion with a mercurial fluidity, the immediacy of feeling she conveys in ”Heaven” is astonishing. It also allows her to carry off the seemingly impossible feat of making us care passionately about a woman who has committed an unforgivable crime.” – Stephen Holden, NY Times.

“Blanchett’s performance confirms her power once again. She never goes for an effect here, never protects herself, just plays the character straight ahead as a woman forced by grief and rage into a rash action, and then living with the consequences.” – Roger Ebert

Promotional work:

 

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Happy Holidays

With 12 episodes released I want to say thank you for listening and for making the podcast a reality.

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As we close 2019 and look forward to a new year I wanted to thank you for being a big part of my year. We have discussed many of Cate Blanchett’s films with many more coming in 2020.

We’ve discussed some big blockbusters (Indiana Jones and the Kingdom of the Crystal Skull) and smaller movies (Little Fish, Oscar and Lucinda).

We have talked about her uncanny transformations ino Katharine Hepburn in The Aviator, Bob Dylan inI’m Not There and a sorta Marina Abramovic in Documentary Now.

We talked about her big breakout in Elizabeth, the peak of her celebrity post Carol around the time Ocean’s 8 was released.

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and coming in 2020:

  • Deep dives into Carol and Blue Jasmine, the peak of her success
  • takes on her theatrical work all over the world
  • recaps of the FX/Hulu show Mrs America; coming in the spring

 

 

If you are enjoying the podcast, please consider helping with maintenance costs. The cost of a cup of coffee, $3.00.

 

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Episode 12 – Cate Blanchett in ‘Documentary Now’ / ‘Manifesto’

We are going avant garde because “art is supposed to be radical.” Murtada welcomes Shelley Farmer to discuss Waiting for the Artist (2019), an episode of Documentary Now and the film Manifesto (2017) which started as an art installation.

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Documentary Now: Waiting for The Artist

What is the film about?

An episode of the third season of Documentary Now inspired by the Marina Abramovic doc The Artist is Present. From imdb: A performance artist returns to her native Hungary for a career retrospective.

What is Documentary Now? 

an American mockumentary television series, created by Fred Armisen, Bill Hader, Seth Meyers, and Rhys Thomas. The series spoofs celebrated documentary films by parodying the style of each documentary with a similar, but fictitious, subject. Notable episodes include spoofs of Grey Gardens, The Thin Blue Line and Company Original Cast Album.

What year did it come out?

 2019

Who does Cate play?

 Izabella Barta, a take on Marina Abramovic.

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Topics discussed:

  • Documentary Now the series, what they are good at, memorable episodes, why is it a must see?
  • Mimicry, she’s an ace after all she played both Bob Dylan and Katharine Hepburn so to take to this absurd level is fun.
  • Adding absurdity to all the re-creations of Marina Abramovic, this a spoof of her 2012 documentary The Artist is Present.
  • This is a fun absurd register that she doesn’t play with in her films though she has played ridiculous (Crystal Skull, Cinderella).

Memorable quotes:

  • “I am human”
  • “Got pain in my uterus already”
  • “It’s supposed to be radical”

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What reviews said about Cate:

“There’s a genuine, and familiar, tragedy underneath Blanchett’s Slavic accent, and she doesn’t play the part for laughs. There’s humor in the episode, but it’s the humor of recognition, not release. Even if it’s fiction, “Waiting for the Artist” still feels like it’s documenting something real.” – Sam Adams, Slate

“The episode is written by Seth Meyers, and its brilliance lies in how tenderly both he and Blanchett approach Barta, a woman whose installations have included getting strangers to pass her toilet paper and pretending to be a cat. Performance art is so ripe for parody that it almost resists it. But Meyers, whether accidentally or not, finds some real meaning in Barta’s work, which attempts to expose the absurd suffering of the human condition.” – Sophie Gilbert, The Atlantic.

Film within context of Cate’s career:

Fun project that shows she can be in on the joke playing off her persona as a great actress.

Other references:

Behind the scenes of the episode @ IndieWire

Recently Cate and Marina spent time together in London.

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MANIFESTO

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What is the film about?

Official Synopsis: Manifesto pays homage to the tradition and literary beauty of artistic manifestos, ultimately questioning the role of the artist in society today. Performing these ‘new manifestos’ as a contemporary call to action while inhabiting thirteen different personas, Academy Award winner-Cate Blanchett imbues new dramatic life into both famous and lesser-known words in unexpected contexts. Details about the 12 manifestos here.

What year did it come out?

the installation came out in 2015, the film in 2017.

Who does Cate play?

13 characters reciting 12 manifestos.

 Metacritic : 72. RT: 76

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Topics to discuss:

  • Does it work as a movie? What makes it a movie if it is? Is it entertaining.
  • The installation which I saw in NY at the Park Avenue Armory
  • You get 13 Cate performances in 90 minutes. Heaven or overkill?
  • The makeup and hair artists are standouts
  • The conception of the characters – a trick to play with an actor’s outside attributes as opposed to soul. Fits the film but what does it add to Blanchett’s reputation?
  • She gets to detail so many little gestures in building her characters, as a gestural actor it must have been wonderful to play 
  • Her performance as Bob Dylan influenced the conception of this project
  • Is it navel gazing? People who consider themselves artists making a project about artistic manifestos.
  • Her husband and children appear in the “Pop Art’ segment
  • Released as a film to pay for the installation

Scenes we liked

  • “Dada is still shit, but from now on we want to shit in different colors.”
  • When she makes a little Cate doll.
  • Norma Desmond come to life as the choreographer
  • “When discourse is opinion,” “when you don’t have to know anything yet you think you know everything” drag EVERYONE Cate. The film comes to life here.

(video edited by Shayma)

Film within context of Cate’s career:

Bolsters her reputation as a chameleon without any expectations that may come with a “regular” film.

What reviews said of film / Cate:

“The surprise here is that Rosefeldt has managed to deliver an intellectually-charged, cheeky, and very funny film that feels unruly and expansive in spite of its tight 12-day shooting schedule and its focus on just one performer. Blanchett has no fear as a performer, and she has such enormous appetite for acting that she rips into each of the characters she is playing in “Manifesto” as if she were hungrily stripping meat off of chicken legs and then hurling the bones over her shoulder. She is such an acting prodigy that she needs to be properly challenged, and “Manifesto” is such a challenging and unlikely project that Blanchett uses her talent as she never has before, splashing it all over the screen and making bold gestures that only become physically overdone when she plays an Eastern European choreographer in a turban.” – Dan Callahan, The Wrap.

“There’s an apocryphal story about turn-of-the-century theater queen Sarah Bernhardt reading the phone book so emotionally that the audience was left weeping. That’s what Blanchett is doing here. She adds a human element. She can turn anything into art. Even artistic navel-gazing.” – David Fear, Rolling Stone

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Episode 10 – Ocean’s 8 and the Peak of Cate Blanchett’s Celebrity

This week Murtada welcomes Kate Halliwell, who writes for The Ringer and hosts Tea Time podcast to discuss Ocean’s 8 and the period post Carol (2015) which they both consider to be Blanchett’s peak celebrity and pop culture power.

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What is the film about?

From imdb: Debbie Ocean gathers an all-female crew to attempt an impossible heist at New York City’s yearly Met Gala.

What year did it come out?

2018

Who does Cate play?

 Lou Miller, second in command to Debbie Miller. The Pitt to Bullock’s Clooney. Butch femme, loves motorcycles and wears a mean jumpsuit and leather pants.

How is Cate introduced? 

6 minutes in tampering with the vodka while Judge Judy plays in the background. 

 Box Office: Domestic = $140,218,711 Int’l = $ 157,500,000

Metacritic : 61 RT: 69

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Topics discussed:

1- Ocean’s 8

  • BDE – was that created just to describe Cate’s energy in this film?
  • The paparazzi photos during shooting – Cate and Rihanna in Central Park, that cute dog dancing – were better than the movie!
  • Hustlers is the movie we hoped Ocean’s 8 would be
  • Who’s the mvp : Anne Hathaway or Cate’s wardrobe? 

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  • Cate’s wardrobe; props to the costume designer Sarah Edwards for getting it right and perhaps reflecting an edgier more downtown side of Cate’s IRL aesthetic.
  • The chemistry between Cate and Sandra. 
  • What scenes did we like? What seemed off? 

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2- Cate’s post Carol’s celebrity power

  • The memes, the devotion, the hive, the conspiracy theories… it’s a movement.
  • Harold they’re lesbians!
  • Cate as a fashion icon, how she understands the red carpet is performance why she gets many abuzz when she glides down a carpet or releases a magazine photo shoot.
  • What is the peak pop culture moment for Cate post 2015?

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1) the Carol press tour late 2015 into 2016

2) Presiding over the Jury at Cannes May 2018

3) The Ocean’s 8 press tour (that Today Show interview with Sarah Paulson, the many suits she wore to all the press events) May-June 2018

4) Lip-synching at a drag show in NYC February 2017 to Dusty Springfield’s You Don’t Own Me

5) Even fellow celebrities are stans; from Gillian Anderson to Val Kilmer

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Episode 8 – Cate Blanchett in ‘Oscar and Lucinda’

One of Cate Blanchett’s earliest films, Oscar and Lucinda finds her working in Australia with Gillian Armstrong and Ralph Fiennes. It’s an odd, eccentric but very feminist tale.

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

Guest : Andy Stewart.

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What is the film about?

 From imdb: In mid-1800s England, Oscar, a young Anglican priest, and Lucinda, a teen-aged Australian heiress, are both passionate gamblers. Lucinda bets Oscar her entire inheritance that he cannot transport a glass church to the Outback safely, and this leads to the events that will change both their lives forever.

What year did it come out?

December 1997.

Who does Cate play?

Lucinda, an heiress obsessed with glass and gambling and who has an almost desperate desire to liberate her sex from the confines of the male-dominated culture of the Australia of that time.

How is Cate introduced?

13 minutes in the pond speaking French. 

Box Office: Domestic = $1.8M   Int’l = Unknown.

Metacritic : 66. RT: 66.

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Topics discussed:

  • Chemistry with Ralph Fiennes. Funny that their paths never crossed again.
  • Cate in love stories. Always weird, this is one and Benjamin Button was another. Why?
  • Costumes by Oscar nominated Janet Patterson (The Piano, Far From the Madding Crowd).
  • Lucinda as a feminist character to be admired.
  • Gilliam Armstrong’s My Brilliant Career – another headstrong feminist heroine. Role was originally meant for Judy Davis.
  •  Has a strange combination of b plot themes and tones:  rape and murder of indigenous Australian people, religious themes. It starts as a love story, becomes a grim sorta war story  while telling the from cradle to grave life story of the titular characters.
  • The whole Oscar trip without Lucinda was weird and tried my patience.
  • They meet almost 40 minutes into the film, then they are separated for the last 40, it is a strange conceit for what is a maybe love story.
  • Cate and Richard Roxburgh – who plays the villian – have acted together many times on stage.

Memorable quotes:

In order that I exist, two gamblers, one obsessive, one compulsive, must meet.” 

Costumes we loved:

They look right for the period though not memorable. More memorable is that they are roughed up and tousled, don’t look pristine like stuffy costume dramas.

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Fiennes, Blanchett and Armstrong on set

 Scenes we liked:

The confession scene where Oscar and Lucinda “lay their cards on the table” is exhilarating and fun. Played for comedy and both actors are playing several notes.

What seemed off:

Mash up of tones which made it interesting if not entirely successful.

Film within context of Cate’s career:

  •  Her second film post Paradise Road (1997).
  • Shekhar Kapur saw stills or scenes from it and cast her in Elizabeth (1998), ultimately leading to her breakout and huge career.
  • Seems to have a small passionate following among Cate’s fans, though not broadly remembered in the culture.

What reviews said of film / Cate:

Ms. Blanchett, whose strength and vivacity recall the young Judy Davis ”My Brilliant Career,” is appealingly well teamed with Mr. Fiennes, who manages to make Oscar as bashfully likable as he is quaint. ’ – Janet Maslin, NYTimes

Ralph Fiennes plays Oscar, an odd Anglican minister addicted to the thrills of wagering; Cate Blanchett is his soul mate, Lucinda — the kind of warm-blooded feminist that may be Armstrong’s most important contribution to the image of women on screen.” – Lisa Schwarzbaum EW

Press coverage other than reviews:

Armstrong to NYTimes on why she chose Cate for the part: “We were looking for someone who wasn’t quite conventional. Cate has this slightly magic quality, as if she can be transported into other worlds.’

Promotional appearances:

New York premiere December 1997.

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Episode 6 – Cate Blanchett in ‘The Curious Case of Benjamin Button’

This week we discuss one of the most popular films Cate Blanchett has ever been in, yet oddly unrecognized as one of her signature parts. It’s The Curious Case of Benjamin Button (2008), directed by David Fincher and co-starring Brad Pitt.

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

Guest : Andrew Kendall, some of Andrew’s film writing can be found here.

The Curious Case of Benjamin Button

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What is the film about?

From imdb: Tells the story of Benjamin Button, a man who starts aging backwards with bizarre consequences.

What year did it come out?

Christmas 2008.

Who does Cate play?

 Daisy; Benjamin’s lifelong friend, they lose each other then find each other in the middle

How is Cate introduced?

The film opens with old Daisy in her deathbed. Then at 0:59 briefly Ballerina Daisy ie older Daisy appears for the first time her face scrubbed of wrinkles. Her story starts at 1:27.

Box Office: North America = $127,509,326 Int’l = $206,422,757.

Metacritic : 70. RT: 71.

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Topics Discussed:

  • Chemistry with Brad.
  • Cate in love stories.. Why does no man seem worthy of her on screen?
  • Outside of LOTR is one of Cate’s biggest hits; a result of wide distribution and availability. Does it reflect her screen persona ie if this was someone’s intro to her or what they know her from?
  • The technology … the makeup.
  • It spins tall tales, not just Benjamin’s but also Mr Gateau. Does the filmmaking fit the style of tall tales?
  • Where does it stand in Fincher’s filmography. Why are his fans and the critical establishment unkind to it?
  • It’s Cate Blanchett pod but let’s talk Taraji too! A very warm performance as evidenced by the laugh after she says “some joy too.” But is this character a modern version of the Mammy archetype?
  • Stacked cast: Mahershala Ali, Tilda Swinton, young Elle Fanning, Julia Ormond, Jared Harris.
  • Which part of the story sags a bit? Perhaps the Tilda part? Not just her story but also the tugboat.
  • Awards wise the film was beloved yet oddly not Cate’s performance, why? Because she’s “the girl?” Because she was absent for long stretches of screen time? The old age makeup despite the expert “old” voice? Was the category just crowded?

Famous quotes:

  • “We are meeting in the middle.” 
  • ‘He gives me the willies, that is not for me” said by one of the sex workers.

Costumes we loved:

  • The red dress on the first date with Benjamin; memorable. 
  • Her ensemble in the post show party when she ditches Benjamin for a fellow dancer.

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Scenes we liked:

  • The short film about Daisy’s accident. 
  • Older Daisy when Benjamin returns as a teenager.

What seemed off :

Is the storytelling too stately and classic for this odd little story? Does the tall tale crumble under the long Dr Zhivago- like epic treatment?

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Julia Ormond, Blanchett and Henson at the LA premiere in December 2008

Film within context of Cate’s career:

  •  Got her hollywood star of fame during the press for this film ie. bought for her by Paramount who released..introduced at the ceremony by Fincher and Kathleen Kennedy.
  • Came at the end of a very busy few years from 2004 to 2008 where Cate was very active in movies. It was the last film she made before taking a sabbatical for 6 years to run the Sydney Theater Company. In those years she didn’t completely abandon movies  (Hanna, Robin Hood) but she wasn’t as active. 

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

Awards: Nominated for 13 Oscars though not for Cate. 

It was a commercial hit yet has strangely disappeared from cultural discourse except for being the one side eyed within Fincher’s filmography.

What reviews said of film / Cate:

The movie, directed by David Fincher, will probably be a hit anyway, because the gimmick (adapted by Eric Roth from an F. Scott Fitzgerald story) is fun to play around with in your head, and because it’s liberating to watch makeup gradually come off an actor instead of getting thicker (and phonier). Fitzgerald spent the later years of his life haunted by the profligacy of his early ones; to reverse time and recover his youthful body and stamina but retain his aged wisdom must have been a blessed pipe dream. Fincher is no humanist (his most vivid film is the clammy, clinical Se7en), and he refrains from milking the material for sentiment—which means the movie isn’t mawkish, but it isn’t especially vivid either. The light is yellowish and diffuse, the backdrops—the clock, a factory wall, the side of a ship—oversize. It’s a gentle expressionism, redolent of death without rattling bones

Fitzgerald’s alter-ego finds his Zelda—called, aptly enough, Daisy—when she visits the convalescent home where his horrified father abandoned him. She grows up to be Cate Blanchett, whose face is uncannily ivory-smooth. When Daisy and Benjamin meet in the middle, both at the peak of their physical perfection, they’re like two Greek statues basking in each other’s radiance, albeit with dialogue that knocks them down a few pegs: “I was thinkin’ that nothing lasts, and what a shame that is.” As they move toward death, one in the direction of infancy and dirty diapers and the other toward old age and osteoporosis, The Curious Case of Benjamin Button attains a level of quiet grace. It’s too bad that I can barely remember the movie after only a week. Nothing lasts, indeed.’ – David Edelstein, NYMag.

Their time as lovers is the film’s most ecstatic passage, to which Blanchett (who played Pitt’s wife, under more trying circumstances, in Babel) lends all her intelligent warmth Richard Corliss, Time.

But the movie’s emotional center of gravity — the character who struggles and changes and feels — is Daisy, played by Ms. Blanchett from impetuous ingénue to near ghost with an almost otherworldly mixture of hauteur and heat.”- AO Scott NYTimes.

“A curious case indeed: an extravagantly ambitious movie that’s easy to admire but a challenge to love.” – Lisa Schwarzbaum EW.

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

  •  Her only collaboration with Fincher who said about her, “I always say everyone was lucky enough to be in a Cate Blanchett movie.”
  • I want her and Pitt to work again together. Also made Babel together.

Press coverage other than reviews:

Cover of Vanity Fair February 2009. 

Promotional appearances:

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Episode 5 – Cate Blanchett 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.

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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. Tomato Meter: 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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Episode 4 – Cate Blanchett in ‘The Gift’

This week we discuss Cate Blanchett’s post-Elizabeth (1998) career and in particular The Gift (2000) directed by Sam Raimi.

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

Guest : Kieran Scarlett, some of Kieran’s writing can be found here. Listen to his podcast, You Started It!

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  • What is the film about?

From imdb: A woman with extrasensory perception is asked to help find a young woman who has disappeared. The big supporting cast includes Keanu Reeves, Hilary Swank, Greg Kinnear, Giovanni Ribisi and Katie Holmes. 

  • What year did it come out?

 Limited release late December 2000, then opening early 2001.

  • Who does Cate play?

 Annie Wilson, the woman with the gift.

  • How is Cate introduced?

Her hands as she put down cards over the credits before her face is shown.

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Topics discussed:

  • Most reviews mentioned that this role seems miles away from her Oscar-nominated Elizabeth (1998) – did Cate mange to subvert expectations and show her range by choosing this film as her leading role follow-up? She also diversified by taking supporting parts in The Talented Mr Ripley, Pushing Tin released in 1999 and The Man Who Cried released in 2001. Also turned down Hannibal around this time.
  • On the flip side this film didn’t work leading to the start of Cate’s lost years between Elizabeth her breakout and The Aviator when something finally jelled. However she made many movies in differnt genres and learned how to be in front of the camera.
  • Cate subverts the trope of the scream queen by underplaying it subtle and all in the eyes and the tremble of the body. Does it work or did we need more drama and hysterics?
  • This was based on Billy Bob Thornton’s mother’s life???
  • Sam Raimi’s strange career – made this after A Simple Plan and For the Love of the Game and right before spending almost a decade making 3 Spider Man movies.
  • Starts with thunder and fog then proceeds to “gift” us with the entrapments – visual and sonic – of gothic mysteries. The bait and switch cliche of presenting the culprit as the sensitive guy who most understands our heroine.
  • Does the film have any cultural capital today beyond being in its cast’s filmography?
  • Domestic violence and child sexual abuse are introduced as plot points – are they handled with sensitivity and nuance or just paid lip service to?
  • Apparently many of the actors signed on for scale because they wanted to work with Cate.

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Famous quotes by the character:

  • “You see something bad?” is THE quote from the movie, delivered by Katie Holmes
  • “What does fuck mean? It’s a bad word for something nice.” Sounds like a Bill Bob quote.

Costumes we loved:

None really though all were appropriate. Annie is costumed very modestly in contract to Jessica (Holmes) and her friend played by Kim Dickens.

What seemed off :

  • Keanu is not good, Kinnear telegraphs a lot. Ribsi twitches.. Are they in the same movie as sublime Cate? 
  • The sript is overwrought but the direction makes it play.

Film within context of Cate’s career:

  • Doesn’t register now.
  • See above about her post Elizabeth work.
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The cast at the film’s LA premiere in December, 2000.

What reviews said of film / Cate:

A O Scott’s review starts with a graf about Cate but it’s mostly about the “but” it contains

“In the last few years, Cate Blanchett has shown a range few screen actresses of her generation can match, playing, among other roles, Elizabeth I, a Long Island housewife in ”Pushing Tin” and a lovelorn preppy in ”The Talented Mister Ripley.” Even when the movies themselves have been lackluster, Ms. Blanchett’s performances have been vivid with submerged feeling. She doesn’t so much embody her characters as haunt them, registering unspoken and unconscious hurt in the hollows of her face and her watchful blue eyes.”

“Even if you’ve figured out where The Gift is headed, the actors keep you watching closely.” – Stephanie Zacharek, Salon.

“The movie is ingenious in its plotting, colorful in its characters, taut in its direction and fortunate in possessing Cate Blanchett. If this were not a crime picture (if it were sopped in social uplift instead of thrills), it would be easier to see the quality of her work. By the end, as all hell is breaking loose, it’s easy to forget how much everything depended on the sympathy and gravity she provided in the first two acts.” Roger Ebert.

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

  • Sam Raimi teased Cate about most of her films – including this one – being flops in a tribute video when honoring her with a career award at the Australian Oscars in 2016.
  • In 2 years she’ll work with Ribisi again in Heaven, one of her most unheralded but great performances.
  • Cate and Hillary Swank would win Oscars 4 years later on the same night for The Aviator and Million Dollar Baby respectively.

SF Chronicle interview with Cate:

“There were plenty of offers to drive a film after ‘Elizabeth.’ But there is no point in driving a film if you don’t have a story to tell,” 

Raimi to Newsweek:

Raimi was working with a budget reportedly under $10 million. But he had no trouble getting people like Keanu Reeves to work cheap when they’d read the rich, layered script–and heard who’d be telling their fortunes. “Once they knew Cate Blanchett was starring in the piece,” he says, “they knew they were going to be across from one of the best, if not the best, leading ladies in the world.” 

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Episode 3 – I’m Not There

This week we jump ahead to one of Cate Blanchett’s most fascinating transformations; as a version of Bob Dylan in Todd Haynes’ I’m Not There (2007).

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

Guest : Chris Feil, some of Chris’ film writing can be found here. Listen to his Oscar podcast, This Had Oscar Buzz.

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What is the film about?

From imdb: Ruminations on the life of Bob Dylan, where six characters embody a different aspect of the musician’s life and work.

When did it come out?

November 2007.

Who does Cate play?

Jude Quinn; a riff on electric guitar 60s counter revolutionary Dylan.

How is Cate introduced?

A dead corpse in the opening of the film, then at min 46 as Jude Quinn with a long VO intro, comes out guitar in hand, then shoots the audience with machine guns.

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Topics discussed:

  • Is this performance mimicry, a trick or much more? Did she find the soul behind the mannerisms?
  • Why was Cate singled out as the standout performance? Beyond genderbending what’s special about the performance?
  • Could we make the case for this being her best performance ever?
  • Which of the 6 Dylan personas work and which don’t? Why? Discussion the other performances.
  • Michelle Williams as Edgie Sedgwick and Julianne Moore as Joan Baez.
  • It’s an inventive way of making a biopic by having a take on its many different styles. Does it work?
  • D. A. Pennebaker’s 1967 documentary, “Don’t Look Back,” some of which Haynes remakes shot for shot.
  • Has the recent corporatization of music biopics – Bohemian Rhapsody, Rocketman, Yesterday – changed our perception of I’m Not There?

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Famous quotes by the character:

Saying ’cause of peace’, it’s like saying, ‘hunk of butter’, you know, I don’t want you to listen to anybody who wants you to believe is dedicated to the hunk and not the butter

Scenes we liked:

  • Some images are breathtaking, especially the framing of Cate walking through a corridor.
  • Press conference, meeting Ginsberg, Cate’s final shot looking straight at the camera.

What seemed off:

  • What AO Scott called “occasional exasperation at Mr. Haynes sprawling, hectic virtuosity.”

Film within context of Cate’s career:

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

Festivals: Venice, where Cate won the Volpi Cup as best actress.

Awards: Oscar nominee, Golden Globe winner (the year it was not televised), Indie Spirit winner, NSFC winner.

Reviews of film / Cate:

The star of the show is undoubtedly Blanchett, who has great fun playing Dylan as a showboat who quite knowingly goes about creating his reputation for rebellious independence.” – The Hollywood Reporter.

Stylistically audacious in the way it employs six different actors and assorted visual styles to depict various aspects of the troubadour’s life and career, the film nevertheless lacks a narrative and a center, much like the “ghost” at its core.” – Todd McCarthy, Variety.

“If the new film does cohere, for a while, that is thanks to Cate Blanchett, who, armed with curly wig and shades, delivers Jude Quinn, the most gripping of the Dylans on display. She looks like Elizabeth I after a long night out with Walter Raleigh and his packet of virgin smokes. Blanchett seems to yield herself to the project with more gusto and curiosity than the others, as if there were truths about Dylan that need to be unearthed, not merely toyed with, and she is unafraid to remind us of what a pain the man could be, especially when stoned, but even she has to wrestle with the camp knowingness of the script (“I’m the only one with any balls”) and, more alarming, with the flimsiness of the context.” – Anthony Lane, The New Yorker.

Cate Blanchett, under Wayfarers and frizzy hair, does a spectacular, soul-on-the-sleeve enactment of Dylan in his Don’t Look Back media-put-on phase. Blanchett makes Dylan a cussed dude who uses his wit to wound, and Haynes’ slyest joke is that the actress, from her lurching marionette posture to her boyish cheekbones to her slurry misanthropic mumble, is the film’s most exquisitely spot-on Bob.” – Owen Gleiberman, EW.

“Mr. Haynes’s film hurls a Molotov cocktail through the facade of the Hollywood biopic factory, exploding the literal-minded, anti-intellectual assumptions that guide even the most admiring cinematic explorations of artists’ lives. Rather than turn out yet another dutiful, linear chronicle of childhood trauma and grown-up substance abuse, Mr. Haynes has produced a dizzying palimpsest of images and styles, in which his subject appears in the form of six different people.”AO Scott, NY Times.

Haynes is not what one would call a natural filmmaker. His ideas are too evident, his schemata overly present. He is, however, a sort of natural Brechtian: His actors are always “quoting.” I’m Not There gets surprisingly naturalistic performances from Ledger and especially Bale. But it’s the blatant alienation effect provided by Marcus Carl Franklin and Cate Blanchett’s fastidiously copied mannerisms that truly dramatize the self-invented, sheer sui generis–ness of the Dylan trip.”-J Hoberman, The Village Voice.

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

Her first collaboration with Haynes. Later Carol.We all owe a great debt of thanks To Todd Haynes’ body of work which has always been independent“ she said accepting the Indie Spirit award.

Press coverage other than reviews:

  • Todd Haynes to Rolling Stone on why he chose an actress for Jude:

“It was written and conceived as an actress to play the part of Jude from the beginning, before I knew it would be Cate. It was really just that moment in Dylan’s life. What was insane about the way Dylan looked in 1966 was that emaciated body, gigantic hair, the flying hands and the sort of weird marionette figure who was obviously exploring drugs and living on the edge. After the motorcycle crash, there was no flying hands, no big hair, no tiny, skinny body. That Dylan was gone forever. That’s such a famous image of Dylan. I wanted to try to reinfuse it with the cultural shock value of seeing that for the first time in 1965, ’66. So I thought an actress could be interesting, because there was an androgyny there. It wasn’t a Bowie androgyny, it was more a Patti Smith androgyny he was channeling.”

“She realised, she says, that Haynes wanted her to “inhabit the silhouette” of 1966 Dylan. “That’s why he’s cast a woman, because it’s the most iconic silhouette of his musical career. It was a really ironic gesture and also very clever. If a man played the role, people would have assessed it in a different way, whereas they’ve been able to get into the strangeness of what Dylan must have been like in that period by the very fact that I’m a woman. I don’t think it’s anything I’ve necessarily done.”

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Blanchett with Haynes at the 2016 Oscars (this is also Chris’ favorite Cate red carpet moment)
  • Haynes on Cate and “the frame,” in an interview with The Film Stage:

“I have to say, the really extraordinary actors I’ve worked with really do care about the frame, when I was working with Cate Blanchett on I’m Not There, she was playing a man in this role of Jude. She would look at playback. She didn’t look out of a sense of vanity; she just wanted to see how her hips were being filmed and how to place her body in the frame to minimize the broadest curves of her female hips. Sometimes it’s very technical reasons why actors want to see what the frame is. It’s all relevant. It all plays into what is the language and the style, and how is that style informing the interpretation of the storytelling and character. I find some of these extraordinary people I’ve been lucky to work with ask questions about the frame, and it’s always for reasons of how they’re going to interpret their performance accordingly.”

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Episode 2 – 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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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

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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