A fairly familiar critique of patriarchy from a humanist and feminist perspective, but one that’s put across with some very impressive filmmaking skills by a…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Roger's Favorites: actress Faye Dunaway.
A celebration of Anna Magnani's acting career on the occasion of a retrospective at the Lincoln Center running May 18-June 1.
An article about the reissue of "Two Weeks in the Midday Sun."
An appreciation for Robert Zemeckis' 1992 dark comedy "Death Becomes Her," now available on Blu-ray from Shout! Factory.
A preview of Ebertfest 2016 and the first Ebert Humanitarian Award
A chronological commentary celebrating the performances of Gena Rowlands.
A reprint of an article by Greg Carpenter about the Confederate Flag.
Obituary for Marian Seldes.
An interview with Woody Allen about his new film, "Magic in the Moonlight."
An obituary for actor Eli Wallach.
Criterion partners with Martin Scorsese to offer amazing treasures of world cinema on Blu-ray and DVD.
Julie Harris seemed to bring her own special set of tools to the art of acting, making every performance, every line feel like a fresh discovery.
August, 2012, marks the 20th anniversary of the debut of "The Larry Sanders Show," episodes of which are available on Netflix Instant, Amazon Instant, iTunes, and DVD. This is the third and final part of Edward Copeland's extensive tribute to the show, including interviews with many of those involved in creating one of the best-loved comedies in television history. Part 1 (Ten Best Episodes) is here and Part 2 (The show behind the show) is here.
A related article about Bob Odenkirk and his characters, Stevie Grant and Saul Goodman (on "Breaking Bad"), is here.
by Edward Copeland
"It was an amazing experience," said Jeffrey Tambor. "I come from the theater and it was very, very much approached like theater. It was rehearsed and Garry took a long, long time in casting and putting that particular unit together." In a phone interview, Tambor talked about how Garry Shandling and his behind-the-scenes team selected the performers to play the characters, regulars and guest stars, on "The Larry Sanders Show" when it debuted 20 years ago. Shandling chose well throughout the series' run and -- from the veteran to the novice, the theater-trained acting teacher and character actor to the comedy troupe star in his most subtle role -- they all tend to feel the way Tambor does: "It changed my career. It changed my life."
Camille Paglia is known for being both brilliant and wacky (possibly wacko) -- often at the same time, which is probably when she's at her most inspired. A founding contributor at Salon.com (and co-star of "It's Pat: The Movie"), Paglia spoke on the phone to Salon editor Kerry Lauerman yesterday after the news of Elizabeth Taylor's death, and offered up an extraordinary tribute. I just wanted to share some of it with you. Lauerman begins by quoting something Paglia wrote about Taylor in Penthouse in 1992:
"She wields the sexual power that feminism cannot explain and has tried to destroy. Through stars like Taylor, we sense the world-disordering impact of legendary women like Delilah, Salome, and Helen of Troy. Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary cliche. But the femme fatale expresses women's ancient and eternal control of the sexual realm." Paglia takes it from there:
Exactly. At that time, you have to realize, Elizabeth Taylor was still being underestimated as an actress. No one took her seriously -- she would even make jokes about it in public. And when I wrote that piece, Meryl Streep was constantly being touted as the greatest actress who ever lived. I was in total revolt against that and launched this protest because I think that Elizabeth Taylor is actually a greater actress than Meryl Streep, despite Streep's command of a certain kind of technical skill. [...]
Behold a most wondrous find...."The Shop that time Forgot" Elizabeth and Hugh. Every inch of space is crammed with shelving. Some of the items still in their original wrappers from the 1920s. Many goods are still marked with pre-decimal prices."There's a shop in a small village in rural Scotland which still sells boxes of goods marked with pre-decimal prices which may well have been placed there 80 years ago. This treasure trove of a hardware store sells new products too. But its shelves, exterior haven't changed for years; its contents forgotten, dust-covered and unusual, branded with the names of companies long since out of business. Photographer Chris Frears has immortalized this shop further on film..." - Matilda Battersby. To read the full story, visit the Guardian. And visit here to see more photos of the shop and a stunning shot of Morton Castle on the homepage for Photographer Chris Fears.
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Tina Mabry's "Mississippi Damned," an independent American production, won the Gold Hugo as the best film in the 2009 Chicago International Film Festival, and added Gold Plaques for best supporting actress (Jossie Thacker) and best screenplay (Mabry). It tells the harrowing story of three black children growing up in rural Mississippi in circumstances of violence and addiction. The film's trailer and an interview with Mabry are linked at the bottom.
Kylee Russell in "Mississippi Damned"
The winner of the Audience Award, announced Friday, was "Precious" (see below). The wins came over a crowed field of competitors from all over the world, many of them with much larger budgets. The other big winner at the Pump Room of the Ambassador East awards ceremony Saturday evening was by veteran master Marco Bellocchio of Italy, who won the Silver Hugo as best director for "Vincere," the story of Mussolini's younger brother. Giovanna Mezzogiorno and Filippo Timi won Silver Hugos as best actress and actor, and Daniele Cipri won a Gold Plaque for best cinematography.
The cast of the Oscar-favorite film, "Home for Purim."
"For Your Consideration" -- Christopher Guest is blessed with the finest comedic stock company since the heyday of Preston Sturges. Guest, Catherine O'Hara (Goddess of Funny), Eugene Levy, Michael McKean, Harry Shearer, Parker Posey, Jennifer Coolidge, Jane Lynch, John Michael Higgins, Bob Balaban, Ed Begley Jr., Michael Hitchcock, Paul Dooley, Jim Piddock, Larry Miller... I get a thrill just seeing them share screen space in various combinations (and this time they've added Ricky Gervais and Sandra Oh to the mix). Every few years when they get together (the last time they were together was "A Mighty Wind" in 2003), it's like seeing old friends for whom you will always harbor a deep and abiding affection. Here's hoping they keep reuniting for many movies to come.
In "FYC," the subject isn't so much the movie industry (Guest already made the best American dissection of the contemporary film business back in 1989 with "The Big Picture") as the awards and publicity industry. We join a film in production -- a kind of kosher Tennessee Williams melodrama about a Jewish family in the South during the war, called "Home for Purim." Somebody on the web (or the "World Wide Internet" as the typically clueless HollyLuddites call it) claims the lead actress (played by O'Hara), an '80s sitcom star who's been virtually forgotten by the public and the industry, may be giving an "Oscar-worthy" performance, and a rumor is born that (as in "The Big Picture") takes on a life of its own.
"I don't think Capote knew exactly what he was setting himself up for," Philip Seymour Hoffman said. "He said later if he'd known what was going to happen, he would have driven right through the town like a bat out of hell."
Elia Kazan, who presided over a revolution in American acting and directed films that won 20 Academy Awards, died Saturday at 94. His films included such towering achievements as "A Streetcar Named Desire," "On the Waterfront" (1954), "A Face in the Crowd" and "East of Eden," but when the Academy gave him its Lifetime Achievement Award in 1999, as many as half the audience members refused to applaud--because he "named names" during the Congressional witchhunt of the early 1950s.
CANNES, France -- The Cannes Film Festival has its first unqualified hit in a ribald new comedy by Spain's Pedro Almodovar, and an oddball conversation piece in "The Limey," by the American Steven Soderbergh. As Hugh Hefner's Playmates slug it out with the Hawaiian Tropics girls for the photo op prize, the 52nd annual event is in full swing. Even Chicago's world-famous gate-crasher is in attendance.
There has been no more assured and powerful film debut this year than "Eve's Bayou," the first film by Kasi Lemmons. Reviewers have compared it to work by Tennessee Williams, Carson McCullers and other Southern Gothic writers; it reminded me of a family drama by Ingmar Bergman. It's made of memories that still have the power to wound. Its shadows contain secrets that will always hurt.
TORONTO -- Kasi Lemmons was Jodie Foster's roommate in "The Silence of the Lambs," and she was the doomed researcher in "Candyman," and one of Nicolas Cage's victims in "Vampire's Kiss." I mention these credits because they are from another, earlier life; Lemmons emerged at this year's Toronto Film Festival as one of today's most gifted young American writer-directors.