Carrie Ann Inaba Engaged!

Carrie Ann Inaba engaged! and received an extra special engagement ring from Jesse Sloan. Ann Mangini of Santa Monica’s Rafinity jewelers tole PEOPLE mag “Jesse came in a few months ago,”  about the said engagement ring.

Jesse Sloan was secretive about his proposal and of course his big purchase. Sloan played it very cool when he proposed to his longtime love on live television.

The Ring.

“He had a very clear idea of ring style and diamond cut: princess cut in a clean platinum mounting.”

“Since the ring was so very simple, for a little flair I suggested we set both his and Carrie Ann’s birthstones hidden on the inside of the ring,” Mangini says. “[It's] a Rafinity signature detail and a way to symbolically join the happy couple.”

Sloan and Mangini worked together to design the ring, Mangini presented him with several different sparklers, and Sloan ultimately selected the 2½-carat, D-color, princess-cut diamond he presented to his girlfriend of two years Thursday morning on Live with Regis and Kelly.

As to the few details, Inaba’s birthstone, garnet, and Sloan’s birthstone, which happens to be diamond, are both “artfully” embedded in the ring, as well. Says Mangini, “He was the picture of a handsome excited-to-ask-his-girl-to-marry-him gentleman!” –

March Bloodstones: Mona Lisa Vito in My Cousin Vinny

I wasn’t certain how to end this semi-retrospective month on courageous cinematic woman. I wasn’t going for the typical Erin Brockoviches and Norma Raes (great courageous women, though) – and I decided I’d end up a lighter, but just as significant note. There really is nothing “courageous” about winning an Oscar – but I like to think that experiencing deep loathing by more than a few cinephiles for her “stolen” Oscar Marisa Tomei has managed to match the greatness of her first great performances once, twice and even thrice again. She’s a consummate supporting actress, and her scene stealing Mona Lisa Vito is a perfect encapsulation of the courageous female sidekick.

My Cousin Vinny is such a forgotten gem, one of those great nineties’ comedies that manages to retain its humour on multiple viewings. The fact that Mona is tagging along with Vinny for his foray into “real” always strikes me as evident as her tenacity. Marisa is so good at characterising her I can almost imagine a scene in New York where she’s doing another monologue at Vinny convincing him that she HAS to tag alone. She’s knows full well that he’s sort of an idiot, and she knows she’s smarter than he gives her credit for. She doesn’t care, though, she’s tagging along because she knows he needs her – complete with her scoffing glares at the town. I immediately love her from the line-reading “You’re famous for your mud?”

I feel a bit bad that my favourite scene of Marisa’s isn’t notable for her courage, but as soon as she starts talking about her biological clock in that outlandish, ferocious cat suit I cannot help but give her rapt attention.

Marisa is a terribly physical actress (watch her brilliant final scene in Before the Devil Knows You’re Dead) and having her unconfined and able to pace around is a reason that scene always pops. It’s comedy, garish at times and even in broad strokes but she keeps on managing to retain that sincerity which is so elusive in pieces like this.

We’re never absolutely certain what she sees in Vinny, but the way that she defends him always impresses. Not only in the context of her being a supportive spouse, but as silly as he is Mona casts her bets on him, but more than she actively ensures that he’s able to be successful. She’s the type of supporting girlfriend who doesn’t get pithy moments of expressing love often, but in those rare softer scene she still retains her individuality and strength, most importantly she never “dumbs” herself down for him.

                  

So, it’s as if we’re waiting for that brilliant cross-examination scene.

She’s so good with the rapid dialogue, and so brilliant against Pesci so as she literally shoots off the solution we think that even though the film is named for her man this movie is all about Mona Lisa....and that the thing about cinematic women of courage. When they appear on screen, it’s difficult to look at anyone else – least of all the men.
         
This marks the end of the Bloodstones of March who included:
Deanie Loomis in Splendor in the Grass
Margaret and Helen Schlegel in Howards End
Francine Evans in New York/New York
Shoshanna and Bridget von Hammersmark in Inglourious Basterds
Rita O’Grady, Lisa Hopkins and Barbara Castle in Made in Dagenham
Mona Lisa Vito in My Cousin Vinny
                
Am I the only one who loves Marisa's Mona Lisa?

Mildred Pierce Part One, Part Two: First Impressions

I don’t pay the closest attentions to the mini-series and movie events that often occur on cable television. It’s hard enough finding time to get through the mire of films released a year without the addition of more. Still, the option of not seeing Todd Hayne’s adaptation of the novel Mildred Pierce was not even an option. The Joan Crawford one appears in my top 100 films, but all for richer adaptations of novel which is what makes the television format such a perfect home to novels of significant size.

    

It’s odd, but the first name in the credits that stood out for me was Ann Roth as the costume designer. Roth’s name doesn’t emerge as often as Sandy Powell or Colleen Atwood, or even Jenny Beavan but she is an Oscar winning designer and I couldn’t help but notice over the span of the first two episodes how costumes emerge as a significant part of characterisation.

I love, for example this first dress we see Melissa Leo in. The garishness of its brightness in an odd way seems to augment the simplicity and practicality of it; clothes are more than important for taking us from period to period it’s almost as if that costume transforms Melissa Leo who’s so excellent here. And Leo is quite good here. Her Lucy overflows with a sincerity which makes even her occasional lack of finesse (in light of her staunch level-headedness) strangely appealing. She is an actor with control over voice, but it’s her fluidity of expressions which wins me over here – consistently more sincere than her work in The Fighter.

    
That sense of sincerity is evident throughout the entire two hours, Haynes is a slow director – not in a negative sense, but he lets everything ruminate before he leaves it. He loves to have his camera travel – almost sensuously, at times – over the surroundings. And the cohesiveness if excellent.

Here again, the costumes jump out at me. It’s the style of Mildred juxtaposed with the normalcy of the waitress that emerges first, but the choice of brownness by Roth makes her seem so pallid, almost unobtrusive. Admittedly, in Part Two there are those odd moments of excess where the movement seems especially dawdling – but I can’t ever say of Haynes that he doesn’t have a purpose to his technique.

    
And good grief – this thing is brilliantly casted.

Assessing the Performers (thus far)
Kate Winslet: A (highlight in Episode 1)
Melissa Leo: B+ (highlight in Episode 1)
Mare Winngingham: B+ (highlight in Episode 2)
Morgan Turner: B/B+ (highlight in Episode 2)
Brian F. O’Byrne: B/B+ (highlight in Episode 2)
James LeGros: B (highlight in Episode 2)
Quinn McLoglan: B (highlight in Episode 2)
Guy Pearce: B
        
Have you been following the mini-series?

Hit Me With Your Best Shot: Psycho

If Psycho was first imagined as a work of literature it would make for a fine Gothic novel. That probably seems like a fairly trite observation, we immediately think of Gothic in its most obvious sense of being mysterious – and when the literary style emerged in the mid 1700s it was the subtle horror found in works like Matthew Lewis’ The Monk or Horace Walpole’s The Castle of Otranto. It’s more than visceral terror that makes Psycho such a perfect concept capable of being a Gothic novel – at the heart of Psycho is the eponymous psycho himself, Norman Bates. And in Norman Bates Perkins and Hitchcock create a perfect illustration of the Gothic antihero.

I love the very first shot of his house – Norman’s Manor, if you will.

It’s sort of begging you to take a picture, so naturally I acquiesced. It’s a tenet of the Gothic protagonist, for the most part. We need a house that’s far from the bustle of the town, desolate, difficult to find and abandoned. Norman’s Manor passes the inspection with flying colours, and it’s the house (and the surrounding swamp) that emphasises his Gothic tendencies. We can imagine him pacing the empty rooms, talking to his “Mother” but unable to leave his lair.

 

It sort of makes sense that it’s Marion who leads to his discovery, because in his very conversation with her he’s disclosing too much. They’re not exactly kindred spirits, but the connection there is palpable. That continuous sequence is the only time Norman eschews his most innate Gothic characteristics. H

That smile below is not my favourite shot (it’s a close second), and it’s one of the reasons I think Perkins’ is so brilliant here.

He avoids the easiest of inclinations to make Norman insincere. Even when he’s at his most sinister, as he misleads Arbogast there’s the obvious sense of him protecting his turf. It’s not quiet heroic; he is a murderer after all. But, like the true Gothic protagonist it’s difficult to judge him because he’s so much a product of his abode. Norman’s skewed because his surroundings are.

This shot underscores it best.

The mise-en-scene there makes Norman appear like a Heathcliff of sorts (without the love story). This is a man, so in tune with the “nature” of his surroundings. Just like you’d read Wuthering Heights and visualise Heathcliff on the moors at one with the world – Norman is in accordance with the desolation of the house, the hotel and the swamp nearby. That’s why he’s so adamant to keep up his charade, and that’s why he’s so threatened by that string of visitors.

But it's this one which easily wins for my favourite shot. Skewed mind and all, there’s something chillingly logical about how Norman is intent on protecting his territory. If we think closely on it, it’s part of his madness. Why does he kill? Who knows. But he can’t leave this place, it’s like he tells Sam later.

“This place? This place happens to be my only world. I grew up in that house up there; I had a very happy childhood. My mother and I were more than happy.”

It’s sort of the perfect encapsulation of Norman as a Gothic character (hero?). He’s indelibly linked to his house because its rich with memories, and secrets and sadness. So, he has no choice to stay there – alone – constantly looking out at the windows. 

 

Even the murders are superfluous, he’s waiting there for his mother – if he happens to happen upon someone, they die – but it’s not really at the root of his issues. Everything important is right there in that house, as it should be, that's why that final shot of him in the holding cell always makes me think. Norman (or Mother) isn't really cold - I'm sure the temperature is fine, but unlike at the Manor where he's at home with the freedom he has he can't function elsewhere. Not only does he lose control of his faculties, but he looks so terribly frail.

Like the truest of Gothic heroes he's defined by his Gothic abode, so away from his Manor Norman loses his potency...
                      
Head on over to Nathaniel, who's the inspiration for this post with his Hit Me With Your Best Shot Series.

Random Acts of Television: Big Love, Private Practice, The Office, Community and Parks&Rec

I’ve been sort of splotchy in my TV viewing lately, and even worse with the reviewing but I just have to single out a few recent episodes....(even though I'm way behind...I'll catch up soon, maybe)

      

I’ve been on and off in my Private Practice viewing, though I’m finally up to speed, sort of. I’m currently one episode behind – most recently seeing Addison’s return and the threat of Naomi’s departure. I feel like a Judas because even though I adore Audra McDonald I hope for her to leave the show so I can have another cast recording with her lovely voice on it. I sort of hope she’s not gone for good. Watching Walsh and McDonald will always be fine, and even the episode does not sizzle it retains that placid coolness that marks the show – sometimes better than Grey’s Anatomy in its interest in characters (which I still have to catch up on).

Episode: “Love and Lies” (Mar. 17) [B/B+]

        

I’m even behind on Thursday comedy which I think is awful, and boy oh boy Community is continuing its awesome string of good episodes which makes me so happy. It’s nice when shows return to form. Oddly, Annie wasn’t a big part of this episode – Britta sort of went front and centre and Senor Chang and yet it worked. Crazily, ridiculously but most importantly HILARIOUSLY. Gillian so often gets terrible material to work with, but seeing her and Abed and Troy having a friendship is nice and that final bit with them all and their “gadgets” was fun. So what if I’m way behind.

Episode: “Custody Law and Eastern European Diplomacy” (Mar. 17) [B+]

And Parks & Recreation returns from the fun of the Harvest Festival to go camping to find some more great ideas. Perfectly sequenced, excellent ideas to ensure everyone gets a chance and then Ron saving the day by making sure Leslie gets to was just absolute genius. But, it was The Office that still has me smiling back. It’s such a perfect way for Michael, the hopeless romantic, to leave the show. Carrell and Ryan are just perfect together and the entire episode is a piece of brilliant, it’s possibly my favourite episode of what’s surprisingly turned out to be a great season.

Episode: “Camping Trip” (Mar 24) [A-]

Episode: “Garage Sale” (Mar 24) [A]

But the real reason for this post is Big Love. Perhaps, later, when I have the time to give them the farewell they deserve, but I do know the writers offered up an episode worthy of our love. The writer was beautifully placid like the best of episodes, but it was the superb direction – the circle coming to an end, the actors being so cohesive everything emerging so smoothly that was most impressed. I’ll admit, I did shed a tear at that closing – not just for the characters, or even the show but the fact that a trio of strong females might never get such great roles again, or worse, not even get recognised for the great work they’ve put in. An kudos to Paxton, for doing fine work in his curtain call.

SERIES FINALE: A, Season Grade: A-

Standout Writing

The Office A+

Parks & Recreation A

Big Love A-

Standout Performances

Bill Paxton in Big Love: A

Steve Carrell in The Office: A

Amy Poehler in Parks & Recreation: B+/A-

Chloe Sevigny in Big Love: B+/A-

Jeanne Tripplehorn in Big Love: B+/A-

Audra McDonald in Private Practice: B+

            

Did any of those episodes stand out for you?

'Make It Or Break It' Finally Returned

Everyone seems to be surprised today when they learned that Make It Or Break was back tonight on ABC Family. What makes it worse are Vampires. Is Make It Or Break It wanted to slice an audience in today's trending characters?

Relief! At least the vampires were only just Kaylie’s weird dream that she was describing in group therapy in rehab for her eating disorder.

That bizarre trick of trying to cash in on vampire popularity aside, here’s what’s new with the girls of Make It Or Break It:

In the said episode, Emily was on probation for stealing her brother’s pills and had to wear an ankle tracker to go to a gymnastics exhibition. Later, Emily confessed what she have  done and apologized for letting everyone down.

Lauren continued to be mad at her father for keeping her mother from her. She also threw herself at the new boy on the show. By the end, she had moved back in with her father.

Meanwhile, Payson wants Sasha back and finds a possible love interest to Lauren who was throwing herself at earlier in the show. Kaylie on the other hand is in rehab for her eating disorder and finds a friend in her model roommate. Her roommate promises to help her fake her way out of rehab, with the girls agreeing that they just need to be thin for their careers.

What did you think of the Make It Or Break It premiere today?

Britney Spears and Enrique Iglesias on Forthcoming Summer Tour

In the news today, Britney Spears confirmed her forthcoming summer tour. Fans were more surprised when Pop singer added that she's going with Enrique Iglesias to, saying  “I’m going on tour with Enrique Iglesias in June.”

Spears huge announcement were made in between songs at her pretaped San Francisco show on “Good Morning America,”

Huge number of fans were gathered at the Bill Graham Civic Auditorium to enjoy Spears' shimmy way through Femme Fatale tracks “Hold It Against Me,” “Big Fat Bass” and her latest single, “Till the World Ends,” in varying body-hugging sexy costumes.

“Thank you so much for all your love and support. You guys are beautiful,” she told the audience. “I love it. I love music. It’s my world. It’s my everything.”

“As a huge Britney fan, it was amazing,” Pollo Del Mar told us. “I was excited just to have Britney Spears here in San Francisco, but to participate and be a part of it was amazing.

What's your take on this? Are you going to watch the music icons perform together?

Kim Basinger tipped paparazzi?

Alec Baldwin's angriness to Kim Basinger is still there right? Well how bout Kim Basinger making Alec even more angry to her?

According to news from Chicago Sun Times, Basinger who tipped to paparazzi's about the actor's condition led into "major misunderstanding". Well, it just made her ex-husband Alec Baldwin mad again to her.

Here's the clip from Chicago Sun Times:

A major New York paparazzo claims he and other shutterbugs were tipped off by Basinger about daughter Ireland calling 911 last week. Now called a ”major misunderstanding” by Baldwin’s camp, that incident led to Baldwin briefly going to a New York hospital, before being released and declared perfectly healthy.

When Baldwin got home, he was infuriated by the huge number of paparazzi lurking outside his Manhattan apartment building — and had to be restrained from going after a photographer he claimed hassled him physically.

While Basinger’s camp denies any contact with paparazzi, my source insists it was the actress whose call came through immediately after the paparazzi picked up the 911 call via police radios.

Amy Adams as Lois Lane in Superman 'Reboot'

According to Hollywood reports, that Amy Adams has been cast as Lois Lane in Zack Snyder's upcoming "Superman" reboot.

Zack Snyder confirmed that Adams had the role to the Los Angeles Times, saying that he reached out to her by phone while in Paris on Sunday.  "There was a big, giant search for Lois," Snyder told the paper. "For us it was a big thing and obviously a really important role. We did a lot of auditioning but we had this meeting with Amy Adams and after that I just felt she was perfect for it."


Adams recently was nominated for an Academy Award for her role in "The Fighter." She joins a cast featuring Henry Cavill as Superman, Diane Lane as Martha Kent and Kevin Costner as Jonathan Kent.

Adams joins a cast that includes Henry Cavill as Clark Kent/Superman, Diane Lane as Martha Kent and Kevin Costner as Pa Kent.

Zack Snyder didn't comment about the plot of the Superman reboot over the weekend but did imply that Lane would be important in the story saying:

"What’s important to us is making [Superman] relevant and real and making him empathetic to today’s audience so that we understand the decisions he makes. That applies to Lois as well. She has to be in the same universe as him [in tone and substance],"

March Bloodstones: Rita O’Grady, Lisa Hopkins and Barbara Caste in Made in Dagenham

I never reviewed Made in Dagenham. I got a screener copy of it one literally one day after I wrapped up my 2010 Year-End Awards, which was a shame because it would have featured in more than a few of the categories. The movie is a simply produced biopic covering the fight for sex-equality in England, and which such a garishly “feminist” evidence of courageous women are obvious, but the good thing about Made in Dagenham is that despite it’s faults and its very prosaic plot it’s a whole lot more fun than you’d expect it to be.

Made in Dagenham reminds me most of movies like The Women or Stage Door - not because it’s a slice of classic life, but because in its wide foray of females I almost don’t want to single out any one of them as best in show. Almost. I’m both surprised and heartened that despite picking up zero awards’ tractions Rosamund Pike was being so constantly fêted as a potential spoiler in the supporting actress race way back when. To say that the role is paper thin might be a little too harsh. The thing is, the role manages to be paper thin and hopelessly predictable at the same time but Rosamund sells it. She’s always so good opposite fellow actresses (perfect opposite Keira and Carey) and truth be told – one of my favourite moments of the film is the throwaway moment in the car when Lisa and Rita both band together to bring down a chauvinistic teacher at their sons’ school. It reads as a bit insular that this “small” act is indicative of their female bravery...but whatever.

Not that Sally isn’t good herself, I was no big fan of her in Happy-Go-Lucky but she’s so charismatic here constantly besting the material she’s given. She’s sort of brilliant opposite everyone in her sedateness, in contrast to Miranda who finds her brilliance by being explosive. My appreciation for Miranda flip-flops. She seems to be having too much fun playing Barbara that sometimes you can just see her being over-the-top for its very own sake. She knows when to rein it in, though. What Barbara does for the cause is no small feat, and that moment where she has her way with her boorish assistants is brilliant.

I figure, my backhand compliments make it seem as if the trio are good despite overreaching issues in Made in Dagenham...and they are. The film has its issues, but it’s so sensible and confident I can’t help but forgive its simplicity. And then, these women are so infectious in their coruageousness, more often than not surprising you with their characterisations. How can I resist?
      
previously: Shoshanna and Bridget von Hammersmark in Inglourious Basterds; Francine Evans in New York/New York; Deanie Loomis in Splendor in the Grass; Helen and Margaret Schlegel in Howards End
      
Were you a fan of Made in Dagenham?

I always feel badly that Michael York didn't get to do any singing in Cabaret, maybe he may have been remembered more...it's his birthday, today....and singing or not I love him in Cabaret.

Ten for Tennessee

I love Tennessee Williams. It’s so strange, because he encapsulates most of the things I find exasperating in contemporary playwrights – hysterical characters, overwrought scenes, a consistency in themes from decade to decade bordering on monotony – but I do love him. Aside from Shakespeare, he’s my favourite playwright. What I find odder, though, is that despite an ostensible theatricality to Williams’ his plays make for such brilliant films, moreover – brilliant performances, so I'm celebrating his birthday by celebrating the performances he gave us.

    

I’ve seen seven film adaptations of Tennessee’s work *Cat On A Hot Tin Roof (1958), Night of the Iguana(1964), The Rose Tattoo (1955), A Streetcar Named Desire (1951), Suddenly, Last Summer (1959), Sweet Bird of Youth (1962), This Property Is Condemned (1966) (Baby Doll doesn't count - it's an original screenplay of his.)

                  

Six of these appear on the list below as I make a special top ten, featuring eight actors who owe thanks to Tennessee for eliciting some of their greatest performances: 3 of them leading to Oscars, 6 leading to nominations and one ridiculously snubbed, but still brilliant.

#10 Elizabeth Taylor in Suddenly, Last Summer

I often used to wonder why Elizabeth seemed so “flittery”, and I won’t deny I’m simultaneously awestruck and confused by what Mankiewicz does with the adaptation (more than the play, even). Katharine Hepburn noted in one of her biographies how professional Elizabeth was, and she really does emanate – sort of throwing herself into the role with an endearing way that seems (rightfully) out of place with all the ludicrousness in the plot.

#9 Karl Malden in A Streetcar Named Desire

I have a latent appreciation for Karl Malden, he’s – for the most part – a consistently good actor and it’s a shame that my two favourite performances of his often get thwarted in memory by their proximity to my two favourite Brando performances. In the wake of the hysteria happening in A Streetcar Named Desire the flash of gentility from [ ] is much appreciated. Malden already has that natural cadence that makes him perfect for the role, and he’s such a supporting actor. It’s easy to write him off, but it’s an Oscar well deserved.

#8 Elizabeth Taylor in Cat On A Hot Tin Roof

I often feel a little conflicted about Cat On A Hot Tin Roof, I love it for all its deviations and issues and Elizabeth is a significant part of that. From a literary perspective, I don’t see Maggie the Cat as iconic a character as most Tennessee lovers. Yet, Liz – more than the words on the page, I’d wager – turns it into that incessantly emotive, emotional, explicit and sensual woman that demands our attention.

#7 Richard Burton in Night of the Iguana

The casting of Richard Burton as the defrocked minister who may, or may not, be a drunkard is rich with irony. The performance is something brilliant. As fine as he is in Becket, the fact that Burton neither earned a win nor nomination for this fine performance is just one in a long line of Oscar injustices. Tonally, Night of the Iguana represents a departure from Tennessee at his most impetuous and Burton – who is so naturally conflicted, symbolises that latent unease perfectly. It’s, oddly, not as remembered as you’d think but that doesn’t mitigate its brilliance.

#6 Anna Magnani in The Rose Tattoo

I’ll admit, I’ve actively prayed for Pedro Almodóvar to make an adaptation of this with Penelope Cruz and Javier Bardem, but that isn’t any suggestion that Anna Magnani isn’t powerful. I’ve never seen Magnani in an all Spanish production (I heard she’s masterful in her own language), but if this is her giving an average performance I’m floored. The Rose Tattoo – for me, is Tennessee’s forgotten classic**, and it’s unfortunate that the boorish, mis-casted Reynolds presents a potential blight to Magnani. She doesn’t allow that, though, delivering with intensity – a performance so raw I can’t bear to grudge her for beating out the competition. Ferocious.

 

#5 Paul Newman in Sweet Bird of Youth

I contemplated the logistics of a Tennessee Williams’ top ten without Newman’s work in Cat On a Hot Tin Roof – but as interesting a performance as his Brick is, I’m much more enamoured with his Chance. Chance manages to come off as one of Williams’ brutes who's not really that brutish and it's because Sweet Bird of Youth is - at its heart - not about human nature at its most violent, but at its most romantic. Romanticism seems to emerge naturally, even in the sordidness of that hotel room and a lot of that has to do with how much Newman seems made for the role of Chance Wayne.

        

#4 Katharine Hepburn in Suddenly, Last Summer

Hepburn admitted to feeling the slightest discomfort at the macabre nature of character, and perhaps it’s this occasionally tentative characterisation of hers that makes me much more interested in Mrs. Venable on screen than I do on paper. Suddenly, Last Summer is such an odd film, I can only imagine how odd it must have seemed to the audience at the time. It’s should function as a trio of Monty/Elizabeth/Kate but it’s really Kate/Elizabeth...still, when Kate tackles those monologues – it’s just Kate (which is why I love the first half more than the second).

        

#3 Marlon Brando in A Streetcar Named Desire

I’m an unapologetic Brando fan – even if I’m not that vociferous about it and though he doesn’t top the list, he is my favourite male performance from Tennessee. Forgive, but I’ll never think of Tennessee in tandem with men – his most interesting male remains Tom Wingfield, and I’ve yet to see a cinematic version of The Glass Menagerie. A Streetcar Named Desire is a puzzling piece, not least because it could have so many interpretations – sometimes Brando plays Stanley less as the ogre that some care to see him as, and more as a man trying to tend to the worn illusions of his own family.

        

#2 Vivien Leigh in A Streetcar Named Desire

Someone once pointed out the irony of the very British Leigh representing two of the most iconic Southern-Belles, but it’s all part of the brilliance of acting. More than any of the players in the film, I’d say she gets better and better with age – I do wonder what Tandy did with the role, but it’s difficult imagining anyone else here – Vivien is so perfect. Yes, there's a slight inch preventing me from loving the performance uninhibitedly, but love/like it's a tour-de-force performance. Blanche may not have a strong grip on reality, but Vivien has a strong grip on Blanche and from her most lucid moments to her most heady Vivien delivers beautifully.

       

#1 Geraldine Page in Sweet Bird of Youth

I’d like to think my citation of this performance here as an apology for so often forgetting Page’s work here. I so often forget about the film, actually, even if I consider it to be severely underrated (the film and the play). With her own set of neuroses, the Princess often gets forgotten when considered against the likes of Blanche, Amanda or Mrs. Venable but Page – so beautiful here – is just captivating. I hate she didn't win, but not as much as I’d like to (that 1962 line-up was pure brilliance). Most notably, though, Page avoids the most theatrical pitfalls that could occur in putting the Princess to screen. She’s just captivating to watch.

                          

It takes more than a great role on paper to make a great performance, but there’s no doubt that each of these performances manages to be so brilliant because of their source material. Tennessee may not have written the screenplay for each film but the connection to his original plays is irrevocable. I like to think that his literature will always endure, I’m a literature student after all – and they’re all classics. I’d like to think that these ten performances will (continue to) endure, too. They’re classics as well.

     

* I’ve also seen two TV adaptations, the Jessica Lange version of A Streetcar Named Desire (an enchanting performance in its odd way) and the Arthur Kennedy version The Glass Menagerie. Unfortunately, I haven’t the version of the latter with our lady Kate the Great.

       

** When it comes to readability, I’d pick up The Rose Tattoo or Sweet Bird of Youth first. The former is one of the oddballs in Tennessee’s portfolio, not the least bit Southern, but it’s so quick and rewarding. On the issue of best, I’d debate between A Streetcar Named Desire, The Glass Menagerie and Night of the Iguana, though Sweet Bird of Youth retains a sentimental hold on me, but I’m never certain if it’s brilliant or if I love it too much.

                

This post is quite a mouthful, but as I said – I love Tennessee. Which of these performances inspired his genius endures most for you? Which inclusions surprise you? Do any of his plays emerge as a favourite of yours?

Happy Birthday, Keira

What is Cecelia thinking? I do love Atonement dearly, much more than I love Keira Knightley but I do love her. True, I'm sort of antsy waiting to see what her next good performance will be - and I'm wondering what she'll be like opposite Joe Wright for the third time. I sort of hate that she's referred to as a "Period" Actress because even if she's best in films that aren't contemporary it seems the slightest bit disingenuous to refer to Cecelia Tallis and Elizabeth Bennett as women of the same time. Sure, they're both periods but the 1800s are a far cry from the 1940s...period or not. Ah, well.
           

I did love her best in Never Let Me Go, but then that filmed seemed like such a disappointing. A rewarding disappointment - but still disappointing. Owing to general laziness, and other things taking up my time I didn't even compile a list of films I was anticipating for 2010 and as much as I loved Cronerberg and Mortensen 2005 venture I'm not  sure that I'll love A Dangerous Method, although I'd love if both of them (along with Keira) knock it out of the park. I'm doubtful as to whether she'll ever top Elizabeth Bennett, but I'll remain hopeful. I mean, how can one not have faith in a face like this? She's only 26, she has plenty years ahead to prove me wrong...
               
I'm not the only Keira fan around hereabouts, am I?

Manny Pacquiao delete his Twitter account

Does our boxing superhero knocked-down by critics after his controversial Twitter account? Manny Pacquiao made his decision by posting at Twitter his last message “Sorry everyone but hanggang dito nalang delete ko na account ko thank you very much to all your support.”

According to news, Manny Pacquiao's Twitter followers became upset he replied one of his follower's question "why he ever ran ran for Congress despite his obvious lack of the House proceeding" with “e di mag reklamo ka sa lolo mong panot”.  The issue started during the voting of congressmen on impeachment trial of Ombudsman Merceditas Gutierrez. Although Pacquiao said that he would vote "no", his vote wouldn't be counted if he is absent.

With celebrities/icon like Manny Pacquiao with thousands of followers, it is expected from them to be very cautious with their words.

To David Lean...

I'm having computer troubles at the moment, which is just ghastly. I had so many articles to finish completing, but it is what it is. I'm too lazy now to finish the actual article I'd planned on doing for David Lean. It's difficult to avoid Lean's more overt characteristics of being a prelude to Anthony Minghella (whom I adore). I always feel just a bit bad for not loving Lean indiscriminately, though I do love him on occasion. Not that he needs absolution from me, the man has two Oscars. I'm still not certain about how I feel about The Bridge on the River Kwai (though I think it was the best of the nominated five - not having seen Sayanora), but the one for Lawrence of Arabia is more than deserved. It's a shame he won his Oscars for the films devoid of female emotion since I think he does so well when he takes a look at them (Summertime, A Passage to India even Brief Encounter or Doctor Zhivago)....but, we know about Oscar/Best Picture and Women.

               

His trump card will always be his attention to detail. His directors of photography almost always did brilliant work; just look at that beautiful shot from Doctor Zhivago below.

I didn't even know he worked as his own editor on A Passage to India. I still haven't seen either of his Dickens adaptations or a few others of his significant ones, but I love these three the best - and these three performances, each of them so very timeless. Yes, I'd have Oscar-ed them all.

Ultimately, I'd remember David by heading back to Summertime - it's unnaturally low-key for him, but I think it's remarkable (and he reportedly loved it most of his films). How would you celebrate his birthday?

The Untamable Shrew

It's not her most revered performance, and it's not the one that we immediately turn to as an encapsulation of her legend. But, when I think of Elizabeth Taylor I immediately think of the shrewish Kate from Shakespeare's The Taming of the Shrew. It's not my favourite performance of hers, but I think of I still think of it as her peak, she's never been more beautiful, more tenacious and more fiery. And, I can't help but think of her eternally opposite Burton - who she stars with here.

RIP Liz Taylor: 1932-2011

Download Firefox 4 Now

The long awaited update of Mozilla Firefox is now available for download.

I, who have been a fan of Google Chrome fan for a quite some time is still using Mozilla Firefox simultaneously with Chrome.

Here are reasons from Mozilla Firefox's website for you to decide

Add Style: Personas
Make Firefox match your style! Choose from thousands of Personas designed by users around the world, or create one yourself. With a single click you can dress up your browser however you want.
Customize: Add-ons
Many of the most popular add-ons are extensions, little extras you download to add more bells & whistles to Firefox.
Make It Work: Plugins
Plugins are small bits of third-party software built by companies like Adobe Systems or Apple to power videos, animation and games (examples include Flash Player or Quicktime).
Adapt Your Interface
The Firefox interface has been designed by a team of experts and tested by a community of millions of users around the world to make sure your browsing is as easy and intuitive as possible.
Stay In Sync
Sync seamlessly connects your desktop and mobile Firefoxes, so you can access your browsing history, passwords, bookmarks and even open tabs no matter which device you use.

Check out more here.