When I read the play "Born Yesterday," a comedy written by Garson Kanin, I was dying to watch the adapted classic film. The tale itself is so simple yet brilliant: a Pygmalion story. A man shapes a woman into his likeness and then falls in love with her. Add on a backdrop set in post-World War II in a hotel with a view of the White House, and the story becomes politically analytical. Kanin weaves his characters and elements together so flawlessly, in a manner that asks the audience to think about morality, social class, relations between the sexes, and intelligence subconsciously, while watching the plot unfold.
I finally had a chance to watch the film, and Judy Holliday and William Holden arrested my attention full-heartedly.Continue Reading
The more one understands about their culture the easier it is to recognize the arts and entertainment of their time. I had always enjoyed watching Gilda for reasons that couldn't exactly be pinpointed until now. There was the impression that it wasn't just her sultry and thrill-seeking ways, or her liberation. It was her libido, actually, and the unapologetic way that the principles behind the production code in movies were instigated. And with style that was most-impressive and done by the likes of Jean Louis, just as any other big budget wonder. It's as if post-Depression a few filmmakers were asking themselves an important question: “Why keep pretending the dark edges of life don't exist?” In asking, it is as though life was breathed into this thought and the result was Film Noir.
This isn't to say that the majority of films in that era were not of great wit and integrity. Surely the way that these restrictions were handled by the likes of Frank Capra, George Cukor, and Leo McCarey was masterful and deserving of adoration. The same can be said of the glitz of Busby Berkeley, providing a much-needed solace for a body of people who were in despair. Still, there are many things about Vidor's esteemed classic that place it far ahead of the others in terms of sophistication. This is due to how human and flawed the characters are and the fact that it's a splendid battle of the sexes. For anyone with experience or imagination in the matter, I assure you that it surpasses even some contemporary works.Continue Reading
Gone With The Wind
For 40 years, until of the era of the blockbuster (beginning with Jaws, Star Wars, E.T., and perhaps The Sound Of Music and The Godfather before them), Gone With The Wind was the ultimate blockbuster. Other films may have passed it in overall box office, but that’s because ticket prices have risen. No film had more people go see it in its day than Gone With The Wind. And yes, it’s a melodramatic soap opera with an eerie romantic schoolgirl crush on the Old South, but that doesn’t take away from the fact that it is impeccably crafted with one of the most stunning performances by an actress in film history.
Based on Margaret Mitchell’s massive Pulitzer Prize-winning novel about the fall of the antebellum American South, Gone With The Wind follows the young Southern belle, Sacrlett O’Hara (Vivien Leigh), through her many marriages, before, during, and after the Civil War. The dashing and worldly Rhett Butler (Clark Gable) is the man for her, but like any spoiled creature, she wants what she can’t have. The stiff, but proud Ashley Wilkes (Leslie Howard) is the object of her near obsession, but he is engaged to her kindly cousin Melanie Hamilton (Olivia de Havilland).Continue Reading
The Women 
I watched The Punk Singer (2013) – Sini Anderson’s adoring biopic of Kathleen Hanna – and, perhaps in a mini-rebellion from her feminist electro orthodoxy, I watched The Women as a follow-up. Of course I mean the original George Cukor-directed The Women and not the roundly panned remake from a few years ago. That big ol’ bomb reportedly tried to assert a more inexplicably positive “sisterhood” sort of tone to this story of caustically ridiculous females - an assortment of Park Avenue trophy wife types scheming, backstabbing, gossiping, and delivering withering putdown after…you get the idea, right? Which is kind of like trying to make the Khmer Rouge camp managers in The Killing Fields a little nicer to their captives.
In Anderson’s documentary and in the writings of chroniclers of Hanna’s work there is a lot of talk of “queerness.” Hanna is a heterosexual woman who has played “feminist electronic music” with her band Le Tigre featuring self-described “gender outlaw” and lesbian J.D. Samson. But “queerness” isn’t maybe entirely best understood through the work of people such as Hanna. For a theoretical perspective of what queerness means in a gay male context it is worth seeking out the work of academic David Halperin and specifically his hefty pink book, How To Be Gay. Halperin seeks to better describe the sensibility of queerness as defined by gay cultural touchstones such as Joan Crawford in Mildred Pierce, Faye Dunaway in Mommie Dearest, and yes, in Cukor’s The Women (featuring Joan Crawford). Queerness in this context isn’t always as friendly to women as queers and their allies might wish and that’s an uncomfortable truth that Halperin seeks to wrestle with.Continue Reading