Encore’s Birthday Marathon: Day 7

There are some movies that exist almost like historical occurrences. I was seven when Titanic was released and I remember hearing about its infamy long before I actually saw it, so for a long time afterwards I used to think that Rose was some homicidal nut who somehow “killed” Jack. I still wonder if persons really didn’t get the concept behind that final “I’ll never let go”, but I suppose I’m already getting ahead of myself.

     

I can’t think of any movie released in my time which would qualify as a movie event as much as Titanic. On good days I might bet on The Lord of the Rings, but even though – artistically –I prefer it I can’t credit anyone but Cameron with the grandiosity that’s so essential to this one (and I know my fellow Titanic aficionado Nick would agree with me). I already reviewed Titanic for my top 100 countdown but I suppose it’s proof that you like a movie when you keep finding new things to discuss about it.

       

This time around I want to focus with specificity on Cameron’s screenplay. With all the madness that went on the nineties I can’t say that it was some sort of Oscar highway robbery, but I have to admit I still get incensed that it didn’t get an Oscar nod which I silly considering the general unimportance of the Oscar and the lineup which was generally strong. Fine, forget sentimental dialogue and hackneyed concepts, maybe I’m overreaching but the only way to make the fantastical sinking of the ship work in context without turning it into some plaintive docudrama IS to set it against the backdrop of something as emotionally manipulative as a similarly fantastical first romance which is marked by its ephemeral nature. Titanic (the real one) is already a historical entity the movie can only work with the audience being allowed to focus on the disaster to occur and the story Cameron carves is a perfect complement. Emotionally interesting, but not arcane and sanguine enough to not distract from that catastrophic second half. Whatever, I’m a fan.

     

What about you?

Leo the Lion; or thereabouts

I want to wash the memory of Inception from my brain. Not because I hated it (I just didn’t like it) but because it’s made me doubtful about Leonardo DiCaprio. Chances are, if you’re reading this blog you’d know that I have no inhibitions about espousing unpopular opinions. For every five times I’ve said Leo is one of my favourite actors there have been two people telling me that I’m crazy for thinking – which doesn’t bother me. It’s not that I think he’s flawless – I have Daniel Day Lewis for those sentiments – but I’m always seeing something special in almost every performance he does, Cobb and others among the exceptions. But I don’t want to lament on the less than perfect today. It’s November 8th and it’s Leo’s birthday. And because he is one of my favourite actors it’s only right that I give a quick look and some of the brilliant (says me) performances that he’s contributed to cinema. My paranoia in worrying that he’s hit a stump is only natural, I’m still going crazy wondering if Jude Law is ever going to grace us with his brilliant screen presence again, but I digress. That’s information for another post...

               

Frank Abagnale Jr. in Catch Me If You Can

"Ah, people only know what you tell them, Carl."

By my summation Frank is not DiCaprio's  best performance. It is, though, the sole performance of his that I can see no one else playing. He has that weird sort of charisma that makes it possible for him to exude that boyish charm that's necessary for young Frank while being brash enough to be wily as adult Frank. It's a strange thing to watch, and no doubt those scenes with Christopher Walken are highlights. I'm not overly fond of the chemistry with Hanks, but then I'm not overly fond of Hanks period - so that;s not saying much. It's weird, two big films in 2002 and no Oscar love for DiCaprio - but I suppose they were just biding their time.

                    

Howard Hughes in The Aviator

 "Show me the blueprints."

Interestingly this has turned into an even more polarising performance than his Amsterdam in Gangs of New York. It’s admittedly a role that doesn’t seem to exist in his natural register but it’s proof that he may not be able to play anything but he can play many things. DiCaprio isn't the sort of actor that works well in confinement - like Ralph Fiennes for example. That man can rock a monologue, DiCaprio does excellently when paired up with a scene partner and there's really no doubt that he's at his strongest opposite Blanchett. Perhaps, just a little of my general infatuation obsession appreciation of Katharine Hepburn trickles over and makes me love their arc that much more. But that final confrontation with Blanchett? Just brilliant.

        

Arnie in What’s Eating Gilbert Grape? (1993)

"She's a whale! Tucker, she's a whale!" 

DiCaprio is one-third of the reason I can’t stand Tommy Lee Jones or The Fugitive. The other two thirds are Ralph Fiennes in Schindler’s List and Pete Postlewasite in In the Name of the Father. In short, one of these men should have had an Oscar that year. Enough said. Well, not quite. Child actors are irregular, few develop into serviceable performers - fewer can play a layered incarnation of a character as children. His Arnie is not the strongest child-performance I've seen, but the mere fact that he really does convince me that he's disable is something to praise.

Billy Costigan in The Departed (2006)

 "Well I tell you Mr. Costello, I'd like to squeeze some fucking money out of it."

If there's one thing DiCaprio proved with The Departed it's that he has the ability to ground a film, even one that has a large ensemble of actors all doing brilliant things. In theory, DiCaprio shouldn't emerge so easily as the lead in the film because it's really not about Billy Costigan - at least not about him only. I'm a big fan of The Departed (proof) and I'd say that the film never hits a false note, but the biggest thrills all seem to surround DiCaprio.

Frank Wheeler in Revolutionary Road

"I mean: what the hell are you doing in my house if you hate me so much?"

I've established, more than once, that I'm a fan of DiCaprio in Revolutionary Road. I'm still generally confused as to his absence from any significant Awards Race (other than the Golden Globes). Remember, I did cite this as my favourite male performance of the decade and in retrospect I'm surprised more persons didn't cry out about it. I know Revoultionary Road has its adamant dissenters - who I've incidentally not come across here.

                  

Happy birthday, Leo. Which performance of his would you watch today?

Movie Meme, 31: When I Stand Up & Cheer

It’s a nice note to end the meme on. Confession: when I read the challenge the first image that popped into my head was this.

I know, I KNOW! More from Titanic and it’s not even a real moment – yes, but I’m right there cheering on. Well in my mind.

There really are so many moments when I’ve felt that vicarious thrill when cinematic characters finally get their acts together. As much as I love Anne Baxter in All About Eve I can’t resist cheering George Sanders on as his Addison DeWitt has way with her (hitting a woman is wrong, but not when she’s Eve Harrington).

Or how about Kate’s Christina Drayton telling off her racist worker? "Don’t speak just…go!"I find myself ecstatic when Ethan's degenerate of sorts manages to make his getaway at the end of Gattaca or I’ll pretend I’m part of the audience when Will & Viola complete their performance of Romeo & Juliet in Shakespeare in Love. The thing is nothing gets more cheers than brilliant ends and performances…so naturally an ending that IS a performance gets double the cheers. And when it’s Baaaaaaaaaaaaarba? Who can resist?

Yes, that gets a big whoopee from me….and so the MEME ends. Sigh. 

Congrats to Ryan and Jess who MEMED with me, Ruth for weighing in now and then and Ripley, Mike and Anna for doing it all at once. Thank you and goodnight.

Movie Meme, Day 30: Saddest Death Scene

Apparently I have too much of an affinity to films where the protagonists end up dead, so I’ve inevitably covered a number of them in the meme already. I didn’t cover Zeffrelli’s 1968 interoperation of Romeo & Juliet and though it’s as clichéd as it can be but it’s still sad because Shakespeare’s is as timeless as can be and Olivia Hussey and Leonardo Whiting give two of the best debut performances I’ve ever seen. And if the original Romeo & Juliet makes it, of course the musical version makes it too. I already mentioned how sad an ending it is, even though more than a few say they don’t care for Richard Beymer  in West Side Story (the moment is all Natalie’s though).

        

When American Beauty ends I’m not particularly sad that Lester has died because as excellent as Kevin Spacey is I have little affection for the character. But it’s implications of the death; it’s really pointless in so many ways and only underscores the banality of the characters’ lives.

And just because 1996-199 is one of my favourite Best Picture streaks I have to mention Jack Dawson and Katherine Clifton. I think I’ve dedicated enough space on this blog to Titanic and The English Patient – so I won’t tire you with more. But yes, I do consider the respective deaths of the protagonists to be sad.

It’s a bit of a loaded question, truly (considering all the films anyone has seen) but which character death stands out to you?

                

(Disclaimer: No films from the aughts make the list because that’s a separate post. Part One: HERE)

       

And yes, this is all for the MOVIE MEME

Movie Meme, Day 20: Favourite Kiss

This seems so clichéd – I know, but I guess I’m clichéd like that. I mean, it’s not like I sit down looking for the best kisses (sex scenes is another story, see HERE). But, really, what kiss beats Rose and Jack? Maybe it’s the thrill of “flying”…but it’s the first that comes to mind, and no other option seems as significant. 

Aaaw, young love.(All for the MEME).

“Beautiful”

I’m still on a semi-break (until tomorrow when most of the horrid exams will be done) but I couldn’t help but take up the baton from Jose and list ten beautiful screen-couples. He gave ten excellent ones, and challenged me to do the same. It’s a task that’s endless because there are so many options to choose from. Should I go only classic? Should I go only modern? Should I take acting into account? Should I include platonic relationships…? What to do…what to do…? Now would probably be the right time to tell you that I’m really neurotic about list making (and everything really, but more on that subsequently). The list is not spontaneous, I put some amount of thought into this – even though it’s very possible I’ve still missed out on a few. I considered beauty of the actors, beauty of the characters and all around loveliness.

                       

I weighed whether or not to include any of Jose’s choices…but I decided not to: though Natalie and Warren in Splendor in the Grass would feature somewhere. So take a look at my un-impulsive list.

                   

#10: Montgomery Clift and Donna Reed in From Here to Eternity

REVIEWED

From Here to Eternity is more remembered for that other fateful pairing and their gyrations on the beach, thus Monty’s greatest performance is forgotten and so is Reed’s richly deserved Oscar win. He’s playing a soldier in World War II, and she’s playing a hooker with a heart of gold. Reed has got to be one of the most forgotten actors of her generations (and it’s not as if she didn’t star in popular films), though I suppose she doesn’t have that “individual” look of someone like, for example, Elizabeth Taylor. She pairs up excellently, with Clift (though of course, who doesn’t?) and though her arc is not the strongest of the film’s they do pull out good performances whilst looking good.

#9: Brad Pitt and Cate Blanchett in The Curious Case of Benjamin Button

REVIEWED

The muted response to Benjamin Button only continues a year and a half after its release. I was, as I’ve intimated, a fan and though the film loves to lacerate both our stars in cakes of makeup when they finally do correspond in looks and age it is lovely to watch. It’s not just CGI as some of the more snarky dissenters have claimed, although if it is – it’s a flawless job. Cate is not conventionally pretty but she is beautiful to watch and though she’s not the most beautiful woman of her age bracket* (all things being subjective), she and Brad are just lovely to watch here.

#8: Leonardo DiCaprio and Kate Winslet in Titanic

REVIEWED

Generic? You bet. What can I say, I’m like that. It’s very obvious, which I suppose makes it all the less inspired. Thank God Leo finally was able to cast off his “pretty boy status” (why is it bad for male actors to be good looking, but it’s a prerequisite with the women?). Kate Winslet is gorgeous here, red hair agrees with her and together the two are just beautiful to watch. It’s the sort of pairing that reeks of patency, but it’s still worth mentioning...I mean, how can I bet against them?

           

#7: Omar Sharif and Julie Christie in Doctor Zhivago

REVIEWED

I hate how Doctor Zhivago is rarely remembered seeing as I consider it to be one of the greatest pieces of the sixties (and my favourite piece from Lean). For me, Julie Christie is a softer version of Glenda Jackson (analogy: Jackson is to Blanchett as Christie is to Kidman). She doesn’t shy away from her looks, though. Notice how her iconic performances make ample use of her beautiful face (even when she’s past the conventional age of beauty). Omar Sharif has always had that very debonair charm that makes him seem to be a very personable man, and he sure has a distinctive face. The two seem as if they’d be an odd couple but in reality meld together so beautifully…hence their inclusion here.

#6: Joseph Fiennes and Gwyneth Paltrow in Shakespeare in Love

REVIEWED

Isn’t this another obvious choice? Maybe it’s the costumes from Sandy Powell that makes them all the more gorgeous…but they still look gorgeous together. Maybe, just maybe, I’m projecting residual Shakespeare love on to his screen incarnation and muse, but I don’t think so. How many ways can you write that they look gorgeous together? Not many. So just look…

#5: Ben Whishaw and Abbie Cornish in Bright Star

REVIEWED (sort of)

Ben Whishaw is almost too good-looking to be considered a man, and there are so many scenes where Cornish strikes me as a Nicole Kidman doppelganger, so it’s already on the list from that. I love Bright Star very much and it continues to grow on me as time goes by I cannot help but say that this is easily one of the most gorgeous young couples last decade. Young love is lovely to watch.

#4: Marlon Brando and Eva Marie Saint in On the Waterfront

REVIEWED

The reformed bad boy and the good Catholic girl is one of those romantic norms that continue to persist. Brando and Saint both won Oscars for their portrayals (deservedly so) and though they don't get romantic lighting or luminous costumes they bring out the essence of beauty. It's natural and it is always heartbreaking. That scene at the bar between the two is just a beauty.

#3: Ralph Fiennes and Kristin Scott Thomas in The English Patient

And another Fiennes…Katherine and Almasay are the type of couple that wouldn’t be out of place in a sixties classic and I suppose with Minghella's tendency to seem like Lean they wouldn't. Neither is as traditionally good looking as the cinema would have, but they are lovely especially Kristin whom I adore, and their pairing hear is just great. To think that Kristin almost lost the role...Minghella knew he was doing when he cast her.

#2: Leonardo Whiting and Olivia Hussey in Romeo & Juliet

REVIEWED

I always feel sad that this pair never went on to greater things. It is easily my favourite Shakespearean film and Zeffirelli’s choice of using actual youths (and newcomers) to portray the young couple is brilliant. It only strengthens their case when you notice the good performances that they give.

#1: Daniel Day Lewis and Michelle Pfeiffer in The Age of Innocence

REVIEWED

Now that they’re in their fifties and all sometimes we forget just how gorgeous this pair is. It was almost a case of too much beauty those moments between the two (though unconsumated) are just gorgeous to watch and when you realise they're doing some of their best work it becomes even more worthy of praise. They're not just looking like perfection...they are. This was the easiest choice on the list.

 * Incidentally, Nicole Kidman who is easily one of the most beautiful actresses is not here. Her pairing with Jude Law in the unfortunately maligned Cold Mountain (which I like) is #11...but I can't forgive it for acquiring two gorgeous thespians and covering them in mud.
              

PS. What do you think of my ten? Jose hates memes, but this is an excellent meme idea and I'm quite audacious so I'm extending an invitation, if you're interested submit your ten and link back to Jose.

Scene On A Sunday: Titanic

One of the reasons referred to when Titanic gets his customary bashing is James Cameron horrific writing. You know, I really couldn’t care less about the words – they’re good to me. But I understand their argument. Still, I think there’s a method in his ostensible madness. It’s interesting to note how the two most ostentatious characters (Caledon, Ruth) are the ones with the strangest dialogue. And speaking of Ruth...why is Frances Fisher’s scenery chewing so often forgotten? Sometimes some good scenery chewing is just what I’m in the mood for, and no scene shows off Frances more, though it’s an important for Rose as well.

It’s the morning after the wild part with Jack, and Cal had just done his (now famous) table tossing scene. Rose is being dressed, for church probably. She looks so troubled the scene already is grim.

Of course, that’s the point. She turns around, in apprehension almost, when her mother enters. Rose is already prepared for what’s to come.

Ruth wordlessly begins lacing the corset looking dangerously severe.

She easily slips into her first line to Rose...

You are not to see that boy again, you understand me.

It’s not a question; it’s a simple statement of fact – as far she’s concerned, at least. Rose is already prepared with her look of defiance. It’s in preparation for her response, which is a perfect line from Cameron – even if it’s a little incongruous.

Oh stop it, Mother. You’ll give yourself a nosebleed.

I can’t help but laugh each time I hear. Rose is good and pissed off, and who can blame her with a mother like that?

This is not a game. Our situation’s precarious; you know the money’s gone.

Of course I know it’s gone. You remind me everyday.

Your father left us nothing but a legacy of bad debts hidden by a good name. That name is the only card we have to play.

I’ll admit, the dialogue is funny – perhaps unintentionally so, but isn’t that half the fun? Frances is giving all she has to sell Ruth’s desperation (as selfish as it may be).

I don’t understand you. It is a fine match with Hockley. It will ensure our survival.

Even that sentence formation is strange, as pretentious as can get. I’m probably reading too much into it, but it’s as if Ruth can’t let her guard down not even with her daughter. She continues, accusing Rose of selfishness – a claim even the more misguided of us won’t believe. And Rose isn’t misguided...

I’m being selfish?

But Ruth knows this game well, she’s a consummate schemer. This set of lines is her piece-de-resistance.

Do you want to see me working as a seamstress? Is that what you want?

Frances’ voice cracks just the slightest on that word seamstress.

Rose’s expression is so unreadable...

But Ruth continues...

...to see our fine things sold at auction?

Our memories scattered to the wind.

I love how she covers her mouth there, so completely fake.
          
I reckon Rose realises that too...

Poor girl...

It’s so unfair.

She’s not really replying to her mother, as much as she’s thinking things over to herself. It’s as if the physical closeness between the two still doesn’t assure that they’ll have singularity in thought.

Of course it’s unfair. We’re women. Our choices are never easy.

I like this part, not for the line, but for Ruth’s about-face. Just a moment ago she was covering her mouth in agony, and she’s already strong enough to turn around with an impassive face to deliver this bit of knowledge. It leads into one of the most sinister maternal embraces.

And it ends of course with Ruth ferociously lacing the bodice...

and segues into the next scene...

poor Rose, no wonder she wanted to get away...
     

Sound off below, but I won't be responding to your comments until Friday, automated posting.

The Unsinkable Ship

The cultural significance of Titanic are colossal and difficult to miss. Its fourteen Oscar nominations and eleven wins are unsurpassed. Up until Avatar it was the cinema’s biggest money maker. It marked a deep reworking of technology in films. It reworked and essentially launched the careers of Oscar nominees at the time Kate Winslet and Leonardo DiCaprio to super stardom and it spawned a number of spoofs about jewels in the water. It subsequently became one of the most, if not the most reviled Best Picture winner that few were willing to express affinity for. Luckily, I’m not a proud person because I feel no sense of embarrassment in citing Titanic as on of my favourite films.

Titanic is not my favourite film, but I marvel at the sheer scope of the piece. The film spans over three hours and yet persons who’d bemoan the cumbersome nature of other excellent pieces (like The English Patient, Gosford Park even The Lord of the Rings) would be willing to take an uninterrupted gander at it. Call it what you will, but few films of such length can keep the audiences interested for so long. As a narrative Titanic is split, evenly more or less, into two parts – the romantic half (pre-iceberg) and the action half (post-iceberg). Of course, like any film with a split narrative there are moments where the two overlap, and both “parts” are mediated by the words of our narrator in question Gloria Stuart. If forced, I’d probably single out the first half as my favourite even though each has things going for it. It’s the in the first part where the ensemble nature of Titanic is most evident. I’ll admit, Cameron is no E. M. Forster with his writing but I’m always wary of his critics who seem to officious. I’m not sure if it’s his skill for the inane, or the actors skill for the camp but it all works gloriously – like Fisher’s bedroom confession to her daughter, “Do you want to see me working as a seamstress?”; or Winslet’s much-too-verbose Rose’s soliloquies of sorts “Look, I know what you must be thinking! Poor little rich girl. What does she know about misery?”. The words are not the beacon of the film, but there’s some sort of sadistic thrill as I watch hearing Billy Zane tear through lines like, “Yes, you are, and my wife. My wife in practice if not yet by law, so you will honor me. You will honor me the way a wife is required to honor a husband. Because I will not be made a fool, Rose."

The thing is, even though it’s the first half that sets Kate and Leo up as dramatic actors it’s the second half that solidifies their skill. Certainly, they’re nowhere near the top of their game but the work they do as the ship begins to sink should not be ignored. It’s the difficulty that countless actors today cannot overcome. Winslet and DiCaprio need to effectively act against the already overwhelming backdrop of the special effects and they emerge doing credibly good jobs. The sinking of the ship is a thoroughly amazing visual spectacle, and yet we rarely forget the ill-fated lovers, for each actor carves a true character against the almost impossible. For Winslet it’s the film’s most deliciously ridiculous moment – as Rose is lowered into the lifeboats only to subsequently jump off, Kate has no lines and it’s up to her to sell a plot device that’s borders on fanatical; and she does. It’s an indicator of the brilliant actress to come. For Leo it’s later, and shorter. The moments just before his “death” are poignant, even if in its deliberateness. “you're going to make babies and watch them grow and you're going to die an old lady, warm in your bed."

          

Of course, the crux of my argument for the film should lie in its consummate technicalities, but I won’t bother. The costumes, the art direction, the visual effects and even Horner’s score which manages to remain poignant despite the recitative nature. What makes a film good? I don’t know, but I do know I’m willing to sit down and look at Cameron’s film whenever it’s on. I know the narrative like the back of my hand, I can recite the “inane” lines as if I wrote them and when anyone is moved to lambast it for its faults I’m often moved to imitate Rose and Jack; when the infuriating footman tries to warn them about the folly of their ways the turn around to him in unison and say “Shut Up!”

       

Titanic appears at #23 on my list of favourites.

20 Word Film Blog-a-thon

Owing to The Kid, I've got to now tell you why I love the cinema...but in 20 words. Yikes! So, here goes....clicking on the links would probably clear up any confusion....
            

Why DO I Love the Cinema?

Katey, Marty, George.
Rebels: Old and New
Merchant Ivory – Schlegel Sisters
Musicals…comedies – Woody to Judy.
Ingénues and veterans
...Love & War
             
No it's not a coherent paragraph, God knows, I couldn't manage that in twenty words...by order of The Kid - get bloggin'!

Parents, Lock Up Your Children: Cinema's Best Sex

In what was pure jest, I suggested that The Mad Hatter continue his list of five greatest screen kisses by highlighting five greatest screen f&*%s. It sounds a bit crass, but sex is a given in films - how it turns out is another story. He suggested I do the list, and it was difficult and simple at the same time. Now I understand why making a top 5 is so difficult, five is a number that sucks. Too small. So firstly, I'd like to give some runners up: West Side Story and Romeo & Juliet both had beautiful scenes of lovers in bed, but for the life of me...I can't remember any actual sex. Sure the latter had naked butts, and the former had beautiful singing...but not quite the best. The Curious Case of Benjamin Button had two beautiful people in bed and Fincher did not make it gory like his last Brad Pitt outing. Ralph Fiennes preforms well (intended pun) in The English Patient and The End of the Affair and I would be remiss to not mention A History of Violence, Cold Mountain and The Reader - but on to the five.

    

#5 Sex In the Rain: Scarlett Johannson and Jonathan Rhys Myers in Match Point

Every movement these two make is tinged with overt sexuality, it's overwhelming. There is a particular scene involving a blind-fold that's quite...ummm....stirring, but strangely the sexiest of them all is the one with the least bit of screen time. Nola has just been insulted by the mother of her bourgeoisie fiance. She stalks out into the rain and Chris follows her, with a purpose. Scarlett + rain=awesomeness.

                 

#4 Sex in Cafes: Diane Lane and Olivier Martinez

Why is cheating sex so delicious? Don't ask me. Ask these two. Adrien Lyne loves his sex (see Glenn Close for proof) and Unfaithful has many of them but they become more striking as it becomes more risky. That aggressive experience in the cafe while her suburban friends wait outside is memorable and well worth your time (not being nasty).

     

#3 Elizabethan (Poetic) Sex: Gwyneth Palthrow and Joseph Fiennes

His brother missed the mark, but the other Fiennes makes it. Shakespeare in Love is a lovely comedy, but that sex scene has been remembered for many reasons (including Palthrow's mammaries). Will has just found out that Thomas Kent is Viola De Lesseps, the lead is awesome. She asks "Can you love a player?" He answers, "Can you love a fool?" The unwrapping of her bound chest is sooooo romantic (swoon, ha) and Imelda Staunton's incessant rocking doesn't make it any less sensual. Lovely stuff. If only Cate had had a similar sex scene you know she was getting that Oscar. Grrr.

             

#2 Literary Sex: Keira Knightley and James McAvoy

This scene works on two levels, I'll begin with the boring one. Atonement rests on the fact that a note binds it all together, and on a larger scale Briony's novel hence it's so wise to have the (only) sex scene in a library literally on the books - the very thing that shapes their lives. Okay, enough of symbolism. On the good stuff. Robbie and Cecilia grew up together, but have grown apart. Still, the attraction is there and when a note mistakenly reaches her they confess their devotion. Then consumate it. Obviously Robbie is a rebel. Standing sex? Not British at all, who would have thought fully clothed stuff could be so...scintillating. It took me a long time to forgive Saoirse Ronan's interruption....

       

#1 Sex in the Carriage On A Ship: Kate Winslet and Leonardo DiCaprio

Need I go on? Well my heart will...go on. We know the story, Rose and Jack escape from Cal's bodyguard and find themselves in the room with carriage. Even before the sex it's nice. He climbs into the driver's seat." Where to miss?" He asks. She says: "Take me to the stars." And he does. That hand on the window, the kissing of the fingers - is there any way to deny this legendary scene? I don't think so...

      

...But maybe you do. What is your favourite bedroom (not literally) scene.

   

NOTES: It's interesting, three of the featured women went on to Oscar nominations (Winslet, Palthrow, Lane) with Palthrow winning. Johansson and Knightey were Golden Globe nominated. Yet none of the men saw Oscar love...Is there a trend here?


PS. Did you try to guess the answer here? Please do.

The Nineties Revisited: Ep 5

...wherein we come to the end. It's been lovely looking at the nineties in review, and I'm not going to end with a list of my favourite films from the period. That would be boring. Instead, I will highlight the ten best Ensemble Works from the decade. Firstly, remember this list is purely personal. So you may disagree. Secondly, this is not a list of my ten favourite films of the nineties. It's all about the ensemble, those films where you feel every actor is working in tandem with each other. The sort of "You jump, I jump" scenario from the actors. Yes, that one's there.

So, let me hear your thoughts? Give me your top three casts of that decade? Which of my choices have you reeling? Which makes you happy?