Tag: Romance

#Oscars Best Picture Nominee: “Anora” (2024) starring Mikey Madison

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from the movie Anora (streaming on VOD).

Love is a hustle. -A tagline for the film

This is yet (another) movie that shows us the hard truth- ain’t NO man coming to save you! This is my 1st time watching a Sean Baker movie; he’s the writer, director, and editor of this (unusual) indie film. This film won the Palm d’Or at the 2024 Cannes Film Festival. The title character (who prefers to be called “Ani”) is played by Mikey Madison; I saw this actress in her supporting role in Once Upon a Time in Hollywood (2019). Ani is a 23 y.o. stripper (or sex worker) at a club in Manhattan; she’s a blend of sweet and tough (as several viewers noted). One night, the club’s manager pulls Ani aside to explain that a client wants to see someone who speaks Russian. Vanya (Mark Eydelshteyn) is a big spender/heavy drinker, though just 21 y.o. Since Ani’s grandma never learned English, they communicated in Russian. Ani quickly charms Vanya; soon, he invites her to his mansion. They seem to like each other, have some laughs, and end up in Vegas (w/ a group of his friends); of course, Anora is paid to act like a gf. Suddenly (after a week), Vanya proposes to Ani, and she says “yes!” Are they really in love? Is this a reckless decision they’ll come to regret?

Some viewers have compared this movie to Pretty Woman, BUT w/ a more gritty, dark, and realistic bent. The nudity (and intimate scenes) are also unlike ones you’d see in typical rom coms. This film takes an (unflinching) look at the issue of class; this is NOT often done in America. Honestly, I didn’t think much re: class/social differences until I lived in NYC myself. In once scene, Vanya (unlike Anora) doesn’t move his feet while his young maid (a Russian immigrant) is vacuuming; he continues to play video games. It turns out that Vanya is still an immature boy; his lifestyle is paid for by his wealthy/business-oriented parents (who live in Russia).

The 1st act has been described as a (high energy) rom com; the rest is slower w/ the tone of a dark comedy. It was refreshing to see areas of NYC that aren’t often in movies; Ani lives in Brighton Beach, Brooklyn (known for its large Russian population). We see Coney Island (nearly empty in Winter) and points of interest in Vegas (such as an iconic wedding chapel). Though Ani is the central (POV) character, the supporting characters (who work for Vanya’s parents) add flavor to the story. Toros (Karren Karagulian) is the priest who baptized Vanya; he’s one of the men responsible for watching out for Vanya. Igor (Yura Borisov) is a quiet/stoic young man who works as an enforcer. One astute movie critic noted that both Ani and Igor use their bodies in their work. What did you think of that (unexpected) last scene of the movie? I found myself getting a BIT emotional.

[1] Anora is a punch to the face of the traditional fairytale concept. It’s a realistic, violent, raw, funny, and ultimately sweet modern Cinderella story.

[2] Some films are completely made by their last scenes, and Anora is one of them. […]

…in the film’s final moments, we see all of that bravura fall away and Anora turn into a sobbing little girl when a character offers her a taste of genuine human kindness and affection.

[3] Once the first act concludes and the second act kicks in, there’s a striking shift in both tone and style that I honestly did not see coming.

The comedy is genuinely entertaining, with moments that will have you laughing out loud. Despite serious circumstances, the absurdity of the situations elicits laughter and chuckles.

[4] The storyline was predictable and uninspired, failing to hold my attention or evoke any emotional response. The characters lacked depth, making it impossible to connect with them or care about their journey.

-Excerpts from IMDb reviews

Noir City DC 2024

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Introduction

Hey y’all, how is this Winter going (so far)? It’s NOT fun for me; I’m recovering from a bad cough/cold (after Thanksgiving). I’m also way behind on blog posts. As DC area noir-istas know, my local (AFI) theater had a festival in OCT; Eddie Muller (TCM) came to introduce the movies during the opening wknd. This yr, the festival had double features (2 movies) which revolved around the same themes; 5 out of the 6 noirs I saw were new to me.

Thanks for reading!

-EMMA

***

Union Station (1950) starring William Holden, Nancy Olsen, & Barry Fitzgerald

A secretary traveling from Connecticut to NYC, Joyce Willecombe (Nancy Olsen), grows suspicious of 2 men boarding her train. She is referred to Bill Calhoun (William Holden), head of the Union Station police; the no-nonsense Calhoun is initially skeptical, BUT the men (who escape) prove to be involved in a kidnapping case. Calhoun calls in his boss/mentor, Inspector Donnelly (Barry Fitzgerald), BUT the ruthless kidnappers stay one step ahead of them. Most of the action centers around busy/fast-paced Union Station.

Holden and Olson also co-starred in Sunset Boulevard in the same year- 1950. Joyce plays Calhoun’s conscience, concerned that the interests of the victim don’t get overlooked in the hunt for the criminals. This is a (lesser-known/low budget) film noir; Holden was on the cusp of stardom. This was Lyle Bettger’s 3rd film; he played a LOT of baddies in his career. The platinum-blonde/wide-eyed Jan Sterling has a small role as his (TOO loyal) gf. Fitzgerald (who always played Irish cops or priests) brings in the humor. You can find this noir on streaming services (or rent on YT).

Cairo Station (1958)

Qinawi (Youssef Chahine), a physically-challenged peddler who makes his living selling newspapers in the central Cairo train station, is obsessed w/ Hanuma (Hind Rustum), a curvy/pretty young woman who sells drinks. Hanuma treats Qinawi kindly and flirts w/ him re: a possible relationship. However, she’s already engaged to Abu Siri, a burly/macho porter struggling to unionize his fellow workers to combat their boss’ exploitative treatment. The movie has a large cast (portraying Egyptians of disparate classes) and does NOT fall easily into one genre. Some viewers commented that the climactic scenes reminded them of Hitchcock! Chahine (an Egyptian of Christian heritage) also wrote the story and served as director. If you’re familiar w/ the characterization, visual style, and themes often seen in Bollywood, you should check it out.

[1] The work sometimes recalls Jean Renoir’s “La Bete Humaine,” but with more attention to detail. […]

Let’s underline the importance of the wide screen, which makes the director look like an entomologist watching an ant hill with a magnifying glass…

[2] It’s not hard to see why “Cairo Station” was banned for 20 years in Egypt. It gained much recognition in Berlin, being nominated for the Golden Bear…

-Excerpts from IMDb reviews

***

Le Samourai (1967)

In Paris, Jef Costello (Alain Delon) is a solitary hit man who works under contract. He’s hired to kill the owner of a club, and soon becomes the prime suspect of that murder. His gf (Jane), one of her clients (Wiener), and the Black singer of the club (Valerie) are questioned by the police. Jef is chased by henchmen (sent by the same man who hired him) and by cops. He seeks out who has hired him to get revenge. There is NOT much of a plot, characters have little development, and there isn’t much dialogue. I heard of this film yrs. ago, BUT this was my 1st time seeing it. As Gen Z may say, this movie is “all about vibes.” Sorry IF you’re a fan of thing kind of stuff, BUT I didn’t connect w/ it.

This Gun for Hire (1942)

Hit man Philip Raven (Alan Ladd), is kind to kids and feeds stray cats. He kills a blackmailer and is paid off by Willard Gates (Laird Cregar) in “hot” (marked) money. Meanwhile, a young/blonde entertainer, Ellen Graham (Veronica Lake), gf of police Lt. Michael Crane (Robert Preston) is enlisted by a Senator to help investigate Gates. Raven, while seeking Gates, meets Ellen on a train. Their relationship gradually evolves from that of killer and (potential) victim to an uneasy alliance against a common enemy. This is a well-known/low budget noir which I’ve seen before (on the small screen); it’s a quick/well-paced watch.

***

They Made Me a Fugitive (1947)

In this British noir (from Brazilian director Alberto Cavalcanti), a frustrated/cynical former RAF pilot, Clem Morgan (Trevor Howard), joins a criminal gang led by a nasty character nicknamed Narcy (Griffith Jones). On his 1st break-in job, the getaway car crashes and ends up killing a cop. Quickly, Clem is framed as the driver and sent to jail. Seeking revenge, he escapes prison and heads for London. Along the way, he breaks into a suburban home; a housewife named Mrs. Fenshaw (Veda Hope) helps him out, then asks him to murder her husband. Upon reaching London, Clem is sheltered by a blonde/petite dancer named Sally Connor (Sally Gray), who falls for him. He confronts Narcy and the gang in an abandoned warehouse.

[1] There is more attention to sound and camera-work than I’ve noticed in most British movies from the end of the war until about 1956 or so. Warner Brothers gets a huge credit at the start… So, it’s British, but it has American and continental style. […]

It’s scarier than the American gangster movies of the late forties.

[2] The general gloominess (a mainstay of thrillers emanating from the post-war era) is leavened somewhat by its constant flurry of hard-boiled dialogue courtesy of screenwriter Noel Langley. […]

Still, perhaps my favorite scene in the entire film is Howard’s surreal encounter with the zombie-like Vida Hope – in whose household he stumbles while on the run; she turns out to be deranged, and even tries to talk our hero into murdering her alcoholic husband (Maurice Denham)!

-Excerpts from IMDb reviews

Aimless Bullet (1961)

A couple of yrs. after the war in Seoul, a 30-something accountant’s salary is TOO small for him to even get his cavity fixed. He must somehow provide for his PTSD-affected mother, his pregnant wife, a younger brother (who can’t get work after serving in the army), a younger sister (who sneaks out at night to sell herself to American GIs), and 2 young children. This movie was banned in Korea b/c it was so realistically stark in it’s post- war depiction. You could tell that the locations were real; we see urban offices, outdoor cafes (for tea and drinking away sorrows), slums (located on the hilly areas near the city). The character development was V good, though the pacing felt a bit slow at times.

This film is depressing and it drives slowly towards its conclusion. On the other hand, compared to the often over-the-top melodrama present in other films I’ve seen from the era, Obaltan is a stark contrast. Owing more to Italian Neorealism than Hollywood, the film has many moments of mundaneness and potentially existentialist commentary. That Obaltan means “the aimless bullet” should give that away from the start.

-Excerpt from IMDb review

“Hold on to Me Darling” at The Lucille Lortel Theatre (NYC): OCT 16th-DEC 22nd

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On learning of his mother’s death, country music icon Strings McCrane (Adam Driver) finds himself in an existential tailspin. The only way out, he decides, is to abandon superstardom in favor of the simple life, so he moves back to his hometown in Tennessee. The simple life turns out to be anything but simple in this brilliantly observed tragicomedy, as the consequences of Strings’ success and mind-bending effects of his fame prove all but impossible to outrun. -Synopsis

Hey y’all, I had a FAB wknd in NYC!!! On SAT night, I saw Adam Driver (my current fave actor, as regular readers know) in the play Hold on to Me Darling (written by Kenneth Lonergan)! The play has a limited engagement at The Lucille Lortel Theatre (West Village) until DEC 22nd; I set a reminder, got in the (online) queue, and (luckily) got my ticket in early AUG. In the past, Timothy Olyphant (Deadwood; Justified) played the lead role of country singer/actor Strings McCrane. Twitter was abuzz (earlier this Fall) after seeing a few photos of Olyphant in the role (incl. ones where he is wearing black boxers and socks). OMG, how was Adam going to look (some of us wondered)!? And more importantly, how were we super-fans (AKA rats) going to handle seeing him in-person!?

Let’s get the important stuff out of the way: Adam really is that tall (so towers over the supporting cast) and looks as (uniquely) gorgeous as in photos/movies. His hair is V dark/ thick; he is BOTH wide (note the shoulders) and slim (see waistline). Early in the 1st act, Strings strips down to his boxers and socks before getting a massage from Nancy (Heather Burns). Yup, Adam still has 6-pack abs! As the stage is small, he looms large as a (physical) presence and w/ (deep/baritone) voice. Strings has a Southern accent; fans/viewers from the region commented (online) that Adam did a good job w/ it. He plays the guitar, but Strings is TOO upset to sing much.

The story involves grief, regret, unresolved family issues, a love triangle, and the toxicity of fame (incl. loss of privacy and disconnection from everyday ppl). This play is V well-suited to Adam, as he shows his range; Strings goes from loud/domineering to more quiet/vulnerable (w/o missing a beat). Strings can be charming, yet also self-centered (after being a celeb so long). Adam is in every scene of the 2 act play, aside from one, in the 2 hr. 45 mins. play (which I thought was a BIT too long). Strings wants to regain closeness w/ his older brother, Duke (C.J. Wilson), a working-class family man who still lives in their hometown. He is reunited w/ his 2nd cousin twice removed, Essie (Adelaide Clemens), at his mother’s funeral; this actress has a strong resemblance to Michelle Williams. Essie was a close friend to this mom in recent yrs, so feels her loss deeply.

There are meta moments, such as Strings complaining to his assistant Jimmy (Keith Nobbs) re: “this goddamn space movie” he needs to shoot soon in Kansas City. When Rian Johnson (director of Star Wars: The Last Jedi) saw the play in previews, he laughed out loud at that line. There are many funny lines; I didn’t expect to laugh so much! Nancy compares Strings to a “sad, dark prince” (a la Kylo Ren); a viewer who saw the (previous) play wrote: “Lonergan changed a few lines to fit Adam.” In the final scene, we meet a (hitherto unseen) character named Mitch (Frank Wood); he and Strings have an emotional/powerful conversation (which made me a BIT teary). If you want to see more (incl. 2 vids I took at the stage door), then go to my Twitter/X account (knightleyemma)!

Links to Reviews:

Deadline

The Guardian

Vogue

Vulture

“Port Authority” (2019): From Executive Producer Martin Scorsese

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Port Authority is a love story set in New York’s ballroom scene, and follows Paul, a 20 y.o. from Pittsburgh, who arrives at the central bus station and quickly catches eyes w/ Wye, a 22 y.o. voguing on the sidewalk. After Paul seeks her out in secret, an intense love btwn them blossoms. But when Paul discovers Wye is trans, he is forced to confront his own identity and what it means to belong. -Synopsis (Variety)

Here is a brief description of Ball culture (via Wikipedia): The Ballroom scene (AKA Ballroom community, Ballroom culture, or just Ballroom) is an African-American and Latino underground LGBTQ+ subculture. Its origins can be found in drag balls of the mid-19th C. US, such as those hosted by William Dorsey Swann, a formerly enslaved Black man in D.C. By the early 20th C, integrated drag balls were popular in cities such as New York, Chicago, New Orleans, Baltimore, and Philadelphia. In the mid-20th C, as a response to racism in integrated drag spaces, the balls evolved into house ballroom, where Black and Latino attendees could “walk” in a variety of categories for trophies and cash prizes. Most participants in ballroom belong to groups known as “houses”, where chosen families of friends form relationships and communities separate from their families of origin, from which they may be estranged.

This coming-of-age drama is the directorial debut of Danielle Lessovitz; she made the movie w/ grants from the Torino Film Lab, CNC Cinema du Monde (France), and New York Council of the Arts. Paul is played by Fionn Whitehead, a dark-haired/brown-eyed Brit who was cast (at just 19 y.o.) in Dunkirk (2017) directed by Christopher Nolan. Whitehead began acting at 13 in youth theaters in his native London; he hails from a family of creatives. He is also the lead in Black Mirror: Bandersnatch; I haven’t seen this movie yet (though do like the Black Mirror streaming series). Wye is played by Leyna Bloom (a trans model/actress) who appeared in the FX series Pose; I’ve seen S1 (so far). Bloom hails from Chicago; she has a Black American father and Filipina mother. She trained in various styles of dance since 6th grade; at only 14 y.o. – she performed at the American Ballet Theater w/ Misty Copeland.

Martin Scorsese served as one of the executive producers; I learned this while listening to a Screen Drafts podcast ep on his work. Why would Scorsese be interested in this particular story, some may wonder? Well, this film is set in NYC and delves into group dynamics, power, violence, and masculinity (common in his directorial work). The group of young/white men that Paul comes to live/work w/ is led by Lee (McCaul Lombardi), who is handsome, street-smart, and a bit older (mid-20s) than the others. Late one night on the subway, Lee helps Paul out after the newcomer beaten up by thugs. Lombardi hails from Baltimore, is of Italian-American heritage, and appeared in American Honey (2016) directed by Andrea Arnold (a Cannes selection).

Our early 20s can be a challenging time; perhaps we go away from parents/home, attend college, enter the “adult”/work world, make new friends, etc. The characters here are facing poverty, housing insecurity, and violence on the streets (incl. for things they can’t control- race and physical presentation). Lee and his followers at the shelter hustle to make money by procuring/ selling furniture, electronics, etc, using their race privilege against poor POC/immigrants. Paul goes along w/ them, BUT gets more and more uncomfortable w/ their pushy tactics. On the other hand, Wye and her ball community are focused on self-expression, acceptance, and supporting each other.

Some critics liked the movie, BUT were disappointed that it was told from the POV of the cis/white man. Paul doesn’t feel like he has power over his life; we explains to Wye that he was in foster care and has “anger issues.” Falling in love opens Paul’s eyes up to a wider world; he’s in awe of his new feelings (and the filmmakers depict that well). Unlike him, Wye is comfortable in her own skin, moves gracefully, and has a found family in her “house” (where the young men are her “brothers”). I wanted to see more of the house “mother” (who had 2 good scenes). If you like gritty/realistic and intimate character stories, you can check this out on streaming (for free).

[1] The choice of close-up which make majority of the movie, makes it personal. You feel what the characters are feeling. Watch this movie if you like character driven dramas.

[2] I had the extraordinary opportunity to meet the director back in late 2019, in a Q&A that took place in the Official Language School right after the screening in Gijon’s Film Festival where I first saw the movie. She was so kind and committed to direct the film with heart and mind in the right place, taking a complex thematic involving the identity (in more ways than one) and staying true to the roots.

-Excerpts from IMDb reviews

“The Best Years of Our Lives” (1946) starring Myrna Loy, Dana Andrews, Frederic March, Teresa Wright, Virginia Mayo, Cathy O’Donnell & Harold Russell

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Filled with all the love and warmth and joy. . .the human heart can hold! -A tagline for the film

This iconic movie (helmed by one of Hollywood’s famed/respected directors- William Wyler) centers on the re-adjustment of 3 Americans to everyday life after serving nearly 3 yrs. in WWII. Each man is from a separate age group, rank, and class, BUT quickly become close friends. Each faces a crisis which is a microcosm of the experiences of many IRL American veterans. Al Stephenson (Frederic March: 46 y.o.) returns to his wife Milly (Myrna Loy) and 2 kids: Peggy (Teresa Wright)- a nurse- and Rob- a HS student. Wyler modeled the reunion scene on his own homecoming to his wife. As a banker, Al finds it hard to reconcile his loyalties to ex-servicemen w/ doing “business as usual.” Fred Derry (Dana Andrews: 36 y.o.)- from the working class- finds it difficult to find a job, though he was decorated for heroism as a pilot. Fred can’t relate to the woman he hastily married, Marie (Virginia Mayo), before shipping out. Having lost both hands in a training accident, Homer Parrish (Harold Russell: a non-professional actor/amputee) is unsure IF his fiancee, Wilma (Cathy O’Donnell) will still love (or pity) him. This couple grew up next door to each other, yet find it hard to communicate now.

Rob: We’ve been having lectures in atomic energy at school, and Mr. McLaughlin, he’s our physics teacher, he says that we’ve reached a point where the whole human race has either got to find a way to live together, or else uhm…
Al: [with grim finality] Or else.

Wyler (a major in the Army Air Force), incorporated his own experiences into the film. He flew in B-17s in combat over Germany; later, he shot footage for documentary films. His hearing was permanently damaged when an anti-aircraft shell exploded near his plane while on a bombing raid. Wyler (often noted as “an actor’s director”) sat beneath the camera w/ a large set of headphones connected to an amplifier. The story grew out of a Time (July 1944) story re: Marines taking a train back home to New York from San Diego, and growing more quiet/nervous the closer they got. The screenplay was written by Stewart E. Sherwood (Rebecca; The Bishop’s Wife) and MacKinlay Kantor (Gun Crazy). Wyler wanted an unglamorous look; costumes came off the rack and were worn by the cast before filming and sets were built smaller than life-size. Wyler modeled (fictional) Boone City after Cincinnati; as seen by such things as the taco stand, filming was obviously in SoCal. The add further to the authenticity, the crew (props, grips, mixers, etc.) were recruited from WWII veterans.

The Best Years of Our Lives? More like the best movie of our lives! -Comment by podcaster/movie critic

Loy has top billing here, b/c she was the most famous among the cast at that time. This was a breakout role for Andrews; he gets to show his range (esp. in the last act). In one argument, Mayo (who lobbied hard for her role) bitterly comments: “I gave up the best years of my life, and what have you done?” Each actor does well, whether their role is big or just in one scene. This is one of the Oscar winners which is truly a classic you can’t miss! It’s a slice of life from the ’40s that is still relatable; you can see it w/ all ages. I was emotional watching this film, esp. in the scene btwn Homer and Wilma while he’s getting ready for bed (revealing his vulnerability). This is streaming for free, so check it out for yourself.

[1] The film epitomized both the dream and the reality of the post-war world. This intimate engagement with the psychological facts of American life gave it an almost universal audience. But, unlike contemporary and preceding “message” pictures, it was not a preachment. It showed Americans as they are, presented their problems as they themselves see them, and provided only such solutions, partial, temporary, personal, as they themselves would accept. The picture’s values are the values of the people in it.

[2] To me, watching this movie is like opening up a time capsule. I think in many ways “The Best Years of Our Lives” is probably one of the more fascinating character studies and it holds up extremely well as a look at life in the US in the mid-1940s after WWII. […]

This movie still packs a wallop and I’m very happy to read in other posts other users feeling of a movie that will definitely stand the test of time.

[3]“Best Years” has an unbelievable number of scenes that bring a tear to the eye or a lump to the throat, with only a couple of those being the result of sadness, and with most being caused by beautiful depictions of love, loyalty, pride, patriotism, or the overcoming of personal adversity.

-Excerpts from IMDb reviews