“Woman to Woman”

Last week I gave a listing of films with duo-male leads, and this week it’s time for the women. There are a number of films which depend on strong female ensembles - The Hours, Hannah & Her Sisters, Howards End, Sense & Sensibility, but in each there’s always one player who takes precedence - if they were eligible you know who I'd vote for, right? For me, these five films below do a fine job of paying equal attention to both participants in the duo making for some strong girl on girl action. Interpret that as you will.
               
Melanie Lynskey and Kate Winslet in Heavenly Creatures (1994)

I know it subverts the entire film’s existence as a vehicle for Pauline’s development, but for me Heavenly Creatures doesn’t really begin until Juliet appears on screen. Lynskey and Winslet are two starkly different actresses, which allows them to do such good work opposite each other – added to their youth which makes their performances less pretentious than older actors might have played it. As far as screen-time goes, Juliet is a supporting player – but I can’t think of this one in any other way than as one with c0-leads.

Shirley MacLaine and Debra Winger in Terms of Endearment (1983)

I, with my high sense of cynicism, like to think of the Oscar win for Terms of Endearment as the most bogus picture win of the eighties – which is saying something considering the slate of winners that decade. The film itself doesn’t particularly hamper the mother and daughter bond of MacLaine and Winger, though a significant amount of it develops with them away from each other. At her best I’d support MacLaine’s win, though there are times I side with Winger. Either way, it’s a fine alliance.

Annette Bening and Julianne Moore in The Kids Are All Right (2010)

There’s little doubt in my mind that The Kids Are Right worked so well because of the alliance of Bening and Moore. It was the first thing that drew my interest to the project, and the chemistry they maintained throughout was what kept me interested in it long after. It’s not just because they’re playing lovers, there’s a striking rapport between them – even as actors (just watch them at the Golden Globes) and it’s that modulation which the film depends on.

Geena Davis and Susan Sarandon in Thelma & Louise (1991)

I feel a bit ridiculous admitting this, but for a long time I couldn’t warm up to Jodie Foster’s work in The Silence of the Lambs because I resented her winning Oscars not only over the Countess de Mereteiul but over one of the strongest female duos – Thelma and Louise. Excessive parodying has turned this into something of a cliché – but the redheaded twosome of Sarandon and Davis is a highpoint of the nineties. Of the five pairs on the list, I don’t think any complements each other as well as they did, but Sarandon has a way of working well with her women (even in lesser fare.)

Anne Baxter and Bette Davis in All About Eve (1950)

There are so many reasons that this one’s a classic. What ii find most interesting about All About Eve when it comes to the duo lead front is the fact that both Bette and Anne have brilliant scenes opposite each other, and on their own and yet the film still manages to foster excellent supporting roles for Celeste Holme and George Sanders (among others). Like with Amadeus last week, I can’t choose between Eve and Margot. Both women are legends of classic cinema, and both offer up legendary performances.
           

Do you think these five duos have evenly matched players? Which is your favourite? Who’s missing?

The Ultimate Road Trip

Ridley Scott is a director that doesn’t get enough credit. Sure, he did Gladiator which was the more or less a return to form the epic but he’s no one trick pony. I, for one, am anticipating his interpretation of Robin Hood next summer. In 1992 Scott earned an Oscar nomination for a film that people often forgot he helmed. Thelma & Louise looks like a chick flick, perhaps it is a chick flick. But it is also a thoroughly enjoyable film that features two exceptional lead performances. It’s the story of two friends – Thelma & Louise – one a meek housewife, the other a brash waitress who head out for a bit of fun on a road trip, which goes horribly awry.

I cannot think of Thelma & Louise without affection and even though it’s not exactly a comedy there is that subtle feeling of joie de vivre one unearths from it. Much of that comes from the two lead performances – Susan Sarandon and Geena Davis. I have nothing against Jodie Foster, but I’d not have voted for her on either of her Oscar wins. I often wonder if Susan Sarandon failed to gain an Oscar because of vote-splitting with Geena Davis. The two women are outstanding in their roles and they do some fine bits of acting off each other. The womanly affection they have between themselves is beautiful to see and its an enduring example of cinematic friendship. A young Brad Pitt makes a showing as an intrepid and possibly dangerous drifter and his unlikely chemistry with Geena Davis is lovely to watch.

                              

When we remember Thelma & Louise we often remember than iconic final jump, and that only goes to show how Ridley Scott put his indelible stamp on this film. But above all else Thelma & Louise’s success lies in its story. Callie Khouri is skilled and manages to make all the outlandish occurrences believable and never insincere. It’s a good piece of writing, and I can turn a blind eye to the horrific Mad Money.

                    

Thelma & Louise is a tour de force for Scott. It’s edited wonderfully, features good performances and boasts a top notch script. It’s fun and sometimes even funny and above all else it’s a good piece of film. Not bad for something that people are prone to refer to as a chick flick. It’s #78 on my list of favourites.