Familiar Faces: The Woody Allen Hierarchy.

Woody Allen's newest feature You Will Meet A Tall Dark Stranger opens today in movie theaters. It's currently confusing me with its Curse of The Jade Scorpion or The Purple Rose of Cairo -like silhouette poster. With this move the marketing department has made me recall both the worst and the best from Woody Allen's filmography simultaneously. It's very schizo... maybe this means the new feature will be right smack dab in the middle, neither essential nor embarrassing?

American Poster (left), a European treatment (right)

Why couldn't they have gone with the European poster treatment? European posters are always better. It's a law of Hollywood's nature.

To celebrate its release -- I haven't had time to see it yet -- I wanted to revamp an old list I started years ago. When Vicky Cristina Barcelona was cast in 2007, numerous media outlets were making ridiculously inaccurate claims about Scarlett Johansson being Woody's third most consistent muse (talk about A list tunnel vision!). Those inaccuracies of reporting died down as soon as Scarlett missed a movie. But this list I found interesting in the creation nonetheless and I hope you will in the reading. I've attempted a comprehensive list of collaborations but there are bound to be a few mistakes -- particularly in the area of tiny character actor roles so do note any omissions should you spot them in the comments.

For this ranking, I'm counting only the feature films he directed (plus his third of New York Stories and his one telefilm Don't Drink the Water). The actors, male and female, who've logged the most time with the prolific writer/director are...

Woody Players ... Quantitatively Speaking

01 26 Times. Woody Allen himself. Well you do have to direct yourself if you're also acting. It's 27 if you count a film he didn't direct but wrote & starred in: Play it Again, Sam.

02 13 Times. Mia Farrow is the queen. Remarkably and horrifically, despite the plentiful acting nominations earned by Woody Allen films, she's still never been nominated for an Oscar.

Keaton in Sleeper, Love and Death, Annie Hall, Interiors, Manhattan,
Radio Days and Manhattan Murder Mystery

03 7 and 7.5 Times. Diane Keaton is the runner up woman. Her most famous appearance was for her Oscar win as Annie Hall but she returned to the fold rather blissfully as his wife in Manhattan Murder Mystery and proved that the two of them hadn't lost an ounce of their chemistry. One wonders why they haven't tried an eighth time... (or ninth time if you could Play it Again, Sam which Woody did not direct so we gave her a half point there). Fred Melamed, who so recently nailed his supporting role in the Coen Bros' A Serious Man as huggy Sy Ableman, probably looked familiar to you. That's because he's all over the place in the Woody filmography albeit in small roles. And finally, there's Julie Kavner. Her most memorable part was as Woody's co-worker in Hannah and Her Sisters. Yes that's "Marge Simpson" we're talking about.

04 6 Times. Maurice Sonnenberg and Peter Catellotti have roles like "Movie Theater Patron" in Anything Else or "Sound Recordist" in Celebrity. But since they're in six movies each, one assumes they're either spectacular extras or friends with Woody or the casting director.

Stiers in Jade Scorpion; Wiest in Bullets; Shawn in Radio Days

05 5 Times. Dianne Wiest Wiest won both of her very deserved Oscars for Allen pictures (Hannah and Her Sisters & Bullets Over Broadway). If you've ever wondered why actors are so obviously desperate to work with him, consider this: He's guided thespians to 15 nominations with 6 wins among them - one of the best records of all time.) The instantly recognizable Wallace Shawn has also been in a whole handful of Woody film albeit in smaller roles. You may remember him as The Masked Avenger in Radio Days. David Ogden Stiers (of TV's MASH fame) was another regular.

06 4.5 Times. Louise Lasser has appeared in 4 films but she also does voice work in his first film What's Up Tiger Lily (1966) so let's allow for that with this special designation. Same goes for Tony Roberts, who appeared most famously in Annie Hall. His count would be 5 if you allowed for Play it Again, Sam but Woody only wrote that film and didn't direct it, so we'll give him a half credit there.

[clockwise from top left: Lasser in Bananas; Roberts in Annie Hall;
Waterston in September; Judy Davis in Husbands and Wives

07 4 Films. Judy Davis nearly won an Oscar for Husbands and Wives. Sam Waterston also appears in four films. His most significant role is, if I'm remembering correctly, in September but this was notoriously not a happy film, having been reshot and delayed and not causing much of a stir when it opened despite Woody's semi-popularity at the time.

08 3 Films. Scarlett Johansson has the leading role in three of his films, winning the most mileage from their first outing, Match Point. Alan Alda has also worked three characters in the Woody gallery, most notably in Crimes and Misdemeanors. The following actors have also been in three Woodys: Danny Aiello, Philip Bosco (a familiar TV face last seen on Damages), Frances Conroy (all of her roles predate the Six Feet Under career peak), Blythe Danner (Gwynnie's mom!) Julie Halston, Annie Joe Edwards and Camille Saviola and Jack Warden.

Theron in Celebrity; Daniels in Purple Rose; Hemingway in Manhattan; Huston
in Manhattan Murder Mystery; Balaban in Deconstructing Harry; Ullman in
Small Time Crooks; Clarkson in Whatever Works

09 2 Films. I'm sure to forget someone here but well over a dozen actors have done double duty including: Bob Balaban, Ewen Bremner (yes, that's "Spud" from Trainspotting), Josh Brolin, Patricia Clarkson, Lynn Cohen, Jeff Daniels (who deserved an Oscar nomination for The Purple Rose of Cairo), Larry David, Julia Louis-Dreyfus, Gregg Edelman, director Nora Ephron (only cameos), Stephanie Farrow, Rupert Frazer, Joanna Gleason, Jessica Harper, Mariel Hemingway (Oscar nominated for Manhattan), Anjelica Huston, Erica Leerhsen, Debra Messing, Gretchen Mol, Zak Orth, Michael Rapaport, Deborah Rush, Marian Seldes, Tina Sloan, Charlize Theron, Michael Tucker, Loretta Tupper and Tracey Ullman.

10 1.5 Films. Christopher Evan Welch, pictured left, Vicky Cristina Barcelona's omniscient narrator, actually appears physically in Whatever Works. (He can currently be seen as "Grant Test" on AMC's new series Rubicon.) Great speaking voice, eh?

∞ 1 Film. Everyone with a SAG card... or thereabouts. Though when you look at people who made very strong impressions in their sole appearance, you do wonder why there wasn't another film. I'm thinking of Martin Landau (Crimes and Misdemeanors - Oscar nom), Elaine May (Small Time Crooks -NSFC Best Supporting Actress) and Goldie Hawn (Everyone Says I Love You) in particular, who all seemed like natural fits in the Woody-verse. Most of the members of the You Will Meet a Tall Dark Stranger ensemble are newbies save for Brolin and Bremner making their second films. Midnight in Paris, which recently completed shooting, is entirely Allen virgins but for Kathy Bates who was last seen as a prostitute in his experimental black and white picture Shadows and Fog (1991).

Who do you wish he would work with again?
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MM@M: Peyton Place (From Big Screen to Small)

Previously on Mad Men @ the Movies: 4.1 Live From Times Square 4.2 Sixties Sweethearts 4.3 Catherine Deneuve & Gamera, 4.4 Jean Seberg, 4.5 Hayley Mills & David McCallum, 4.6 Chaplin the Sad Clown 4.7 "No Bad Seats"

freelance creative Joey and name-dropping Harry discuss Peyton Place

Episode 4.8 "The Summer Man"
In yesterday's episode, Peggy (Elisabeth Moss) and Joan (Christina Hendricks) have a difficult showdown with Joey (Matt Long) the freelancer, another example of the show's study of sexism in the workplace. Joan turns on Peggy, despite Peggy's efforts to help. Joan is still in her downward spiral, less powerful in the office, helpless at home, and continually obsessing over Vietnam. Meanwhile, Don Draper (Jon Hamm) finally pulls himself out of his spiral. After last week's instant classic episode, which was very tightly focused, this was a rather uncharacteristic episode with prolonged narration from Don and a jumble of different scenes that felt like transitions away from old storylines.

<--- Mia Farrow and Ryan O'Neal in Peyton Place.

There were several cultural references in this episode such as Margaret Mead, Aesop's Fables, Life Magazine, Ray Charles but the closest we came to movies were two properties that had been or were to become movies. Broadway sensation The Odd Couple was cited with the classic "Are you an Oscar or a Felix?" question, but it would be another few years before that comedy transferred to the big screen. In another scene Harry Crane (Rich Sommer) tried to convince troublesome Joey to audition for a role opposite Ryan O'Neal on "Peyton Place" (1964) because he was so small screen handsome. Joey, unbeknownst to Harry, misinterpreted this as a gay come on.

Ryan O'Neal is a familiar name to anyone who lived through the 1970s when his fame was at its peak but in 1965 he hadn't yet made the jump from small to big screen. Peyton Place had just made the opposite journey. The original film adaptation of the novel (my review) was a Best Picture nominee in 1957 -- one of Oscar's most honored losers actually with 9 nominations and 0 wins -- but it became a series in 1964 catapulting both Ryan O'Neal and Mia Farrow into A List movie stardom once they moved on.

Clip. Mia is heavily featured. Ryan shows up until the 2:36 mark.

Have you seen either version?

The only connection that cropped up in my head with the movie version of Peyton Place and this episode is that Constance McKenzie (Lana Turner) is one (enjoyably) frosty bitch and Mad Men loves that type... though Betty softened beautifully in this episode just as Joan pulled her icy armor closer.
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A Handful of Link

popbytes Mia Farrow vs. Naomi Campbell in the blood diamonds trial -- this is such a crazy story. Who will play Mia and Naomi in the tv movie? You know they'll make one.
Now Kindly Undo These Straps remembers The Witches of Eastwick. Are you an Alexandra, a Jane or a Sukie?
Sheila O'Malley a really fine Patricia Neal tribute with interesting notes from the two key romances of her life (Gary Cooper and Roald Dahl)
Rants of a Diva a playlist inspired by Best Actress nominees? It's a must download.
Nicks Flick Picks finally names his Best Actresses of 2009. Great tweet sized writeups.

Psssst. Angels in America 'best shot' participatory post is coming tonight. might be a bit late. Are you joining in?

Blog Wars VI: The Return of the Link

I've illustrated this post with the new Toy Story 3 character, Ken. Because... I just can't get over it. What?! There's also a new trailer.

And Your Little Blog, Too has a fine piece on one of my favorites, A Place in the Sun
Dear Jesus skewers one of my least favorites, Seven Brides For Seven Brothers
Film Doctor thoughtful notes on Bright Star
Low Resolution finally sees that Jane Campion effort too. Why did it take people so long to get behind it. Argh. Maybe it should have opened in the Spring/ Summer and worked the Away From Her/Erin Brockovich/La Vie En Rose/Moulin Rouge! type of Oscar track?
Empire Untitled Spider-Man Reboot will be in 3-D. Look, I loved Avatar but every film does not need to be in 3D. How long will this craze last? Until a couple of mega flops arrive I guess.

/Film Waking Sleeping Beauty sounds like a fascinating documentary. Me want
/Film Remember when I told you that Clueless director Amy Heckerling wanted Pfeiffer for her new comedy Vamps? Well, apparently she wants "Cher" too... as in Alicia Silverstone rather than Cher proper.
I'm Not Obsessed Sam Worthington for Dracula Year Zero. Uh oh. Is he going to do anything other than big franchise pics? Now might be the time to prove you can act Sam. Now, while everyone is watching: quick detour into drama. Do it!
The Advocate Portia de Rossi does Mia Farrow's classic People cover (see previous post)
by Ken Levine Julianne Moore (and other movie stars) moving to television, from the tv writer's perspective

A Must Read
Have you read the Mark Harris piece on Oscar politics yet? If you haven't you must carve out the time. It's long but it's so well observed, smart and funny. Harris also wrote my favorite Oscar book -- other than Inside Oscar which is basically my Bible. They should have it in the bedstand of every hotel room -- called Pictures at a Revolution which I'm assuming you've read by now. It's just excellent.
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Curio: Mia Farrow in 1974

Alexa from Pop Elegantiarum here with another film curio. Since Mia Farrow turns 65 today, I thought I'd feature one of my prized pop culture possessions: the debut issue of People magazine, featuring on its cover a resplendent Mia as Daisy Buchanan in The Great Gatsby.


Since witnessing her innocent glee in an a-line dress in the opening scenes of Rosemary's Baby (my favorite film), I've had a special love for Mia Farrow. And while Gatsby is certainly not the best of her films, her translucent quality fit Daisy Buchanan well. As Pauline Kael said, "she has refinement in her bones."

The issue features some observations from Scottie Fitzgerald, F. Scott Fitzgerald's daughter, who visited the Gatsby set. She had this to say about Mia:


"When I first saw Mia Farrow on the set I thought she was ravishing, just breathtaking. The New England summer sun was hitting her face under this lilac chiffon hat and she looked just like my father's Daisy Buchanan should look."


Something else in Mia's performances stands out to me, more so than her particular beauty, and especially in her work with Woody: a sort of motherly eccentricity that I find endearing, and totally unique. Happy birthday Mia!

Tues Top Ten: Pregnancies

In honor of Penélope Cruz's recently announced pregnancy and the DVD release of Lindsay Lohan's latest Labor Pains (don't everybody rush out to snatch it up at once. I promise you they'll have enough copies) in which she fakes a pregnancy to keep a job, I thought a top ten list celebrating the miracle of childbirth -- or future childbirth rather -- was called for.

But first a bit more about Ms. Lohan. Rich at fourfour collected the Labor Pain lines that were more applicable to Lindsay the celebrity than the character she happens to be playing.



...not that Lindsay plays characters these days. The Actress wrapped things up with Mean Girls, only The Celebrity lives on.
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Ten Best Pregnant Movie Characters

10 Juno in Juno (2007)
The general three act journey of zeitgeist movies goes like so... Act I: instant hype, audience love and acclaim births a new pop culture babe; Act II: media overkill curdles that hype, attempts to beat holdout audience members into submission spurring rebellions. Backlash turns pop culture darling into punching bag; Act III: Everything settles down until the darling/punching bag is just a movie again, neither the greatest nor the worst ever made. Are we in act three yet with Juno? I hope so because for all the swipes at its forced quirk and too widely adopted quotables, it's a good movie and Juno the character as written, and especially as performed by Ellen Page, should be appreciated as a pretty swell(ing) movie character, hamburger phones be damned.

But how do you think her baby turned out?

09 Demi Moore in...
Vanity Fair Magazine: The Movie. Don't even argue that that wasn't her best role.

08 Holly in Hannah and Her Sisters (1986)
That's a spoiler if you haven't seen Woody Allen's Oscar nominated classic. I love that Holly begins the movie as a bundle of cocaine snorting sister-dependent directionless neurosis and ends the movie aglow with the promise of new life and yet you never think to worry that she'll be a terrible mother. You're too in love with Holly to be anything but happy for her. Credit Dianne Wiest who is one of the most endearing actresses that the cinema has ever known.


07 Sarah Connor in The Terminator (1984)
If you give birth to the future savior of mankind you deserve a place on the list. I chose Sarah over Mary from any Jesus movie or Kee from Children of Men because I don't think they would have survived a robot apocalypse (too demure and too shell shocked, respectively). More on The Terminator and Sarah Connor herself.

06 Dawn Lagarto aka 'Bloody Mama' in Series 7: The Contenders (2001)
It's strange to me that Daniel Minahan's Series 7 never got its due as a prescient satire of the barbaric leanings of reality television and celebrity culture's fame fixation. In the movie, random citizens are selected to star in a show wherein they have to kill the other contestants before they're killed themselves. The final girl (or boy) is the winner. Did the black comedy arrive a year or two too early? Is it not quite as sharp as I remember it being? Either way, Brooke Smith's reluctant but efficient pregnant murderess still lingers in the memory with her big belly, flop sweat and bloody hands.

Is Brooke Smith cursed? Whenever you think her career is going to take off either the film doesn't (Series 7) or she's overshadowed by brilliant co-stars even though she's totally working it too (Vanya on 42nd Street and Silence of the Lambs) or she gets written out of the picture series (Grey's Anatomy, Weeds). If anyone in Hollywood had actually seen Series 7 maybe they wouldn't be so quick to write her off as a contender. Given the right opportunities, she's killer.

05 Ashley in Junebug (2005)
Cuter than a meercat. [Related post: Amy Adams interview]

04 Ruth in Citizen Ruth (1996)
If you've never seen Alexander Payne's satire of America's eternal war between the pro-choice and pro-life forces, you should. The ever brilliant Laura Dern (in one of the best performances of 1996) plays the druggy dimwitted and frequently pregnant Ruth and both sides of the abortion divide seek to co opt her for their cause. It's worth seeing for Dern's amoral comedy alone but the political satire has real bite, too. Here I'll help you. Rent it from Netflix or Blockbuster.

[Related post: Signatures: Laura Dern]

03 Marge Gunderson in Fargo (1996)
Frances McDormand's Oscar win for her seven months pregnant police chief is one of the greatest atypical Oscar moments of all time. A memorably comedic portrayal of a truly original character wins? There is a god. That's as hopeful as Marge's innate goodness, which provides the wintry brutality of Fargo's comedy with its sole warmth.

And for what? For a little bit of money. There's more to life than a little money, you know. Don'cha know that?

And here ya are, and it's a beautiful day. Well, I just don't understand it.

Marge is a great cop. You know she's going to be an awesome mom in just "two more months. two more months."

02 Trudy Kockenlocker in The Miracle at Morgan's Creek (1944)
This Preston Sturges comedy about a girl who gets knocked up on a one night stand with the troops should be mandatory viewing in film schools. It's not that it's the greatest comedy of all time or anything that hyperbolic. It's that it does two things superbly that Hollywood has forgotten how to do well at all. First, briskly paced comedic storytelling and second, an endearing good time gal lead who doesn't feel like she's been assembled from pull down menus in a screenwriting program. Betty Hutton is a total dream as Trudy: funny, sexy, radiant and supremely silly. She's just wondrously fruity. And her loins are unexpectedly fruitful, too.

01 Rosemary in Rosemary's Baby (1968)
Roman Polanski's enduring chiller is among my personal holy trinity of horror: the father mother (Psycho), the son (Rosemary's Baby), and the unholy ghost (Carrie). Most horror movies play with our loudly admitted phobias: fear of the dark, monsters, death. Rosemary's Baby plays a more masterful game, exposing primal fears about things we're not supposed to admit we're scared of. Fears such as pregnancy, childbirth, unknowable offspring and the dread of identities subsumed by our children's. Mia Farrow's brilliant star turn channels these anxieties which are especially pronounced in new mothers, whether or not they've been knocked up by the devil.

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Here's the part where you horrify me by telling me who I've forgotten...

" I just met a wonderful new man. He's fictional but you can't have everything."

Streep Noms, #6 (1985)

A Note: I will be returning to reviewing Streep movies soon but for now let's return to discussing Streep's competitive Oscar fields. I'll try to wrap up the 80s pictures very soon. I knew this month would be Streep heavy I had no idea how mired down in the 80s nostalgia we'd get. See also: Farrah & Michael Jackson.

1985
Six Oscar nominations is a lot for anyone but what is perhaps even more impressive / serendipitous about Meryl Streep's 1985 accomplishment is that Out of Africa, a big hit and Oscar champ, was her third Best Picture winner in seven years. That's quite rare. She would go on to lose Best Actress to Geraldine Page who was, at that time, the most nominated performer (8) never to have won the golden boy (Peter O'Toole now holds the record since he lost on his 8th nomination). Page died a scant 15 months later at 62 years of age. She is one of only five women in the history of the Oscars to have won this prize after the age of 60, the most recent being Helen Mirren in The Queen. I've been meaning to write about Ms. Page for two years now. Really must get to that soon.


To this day I have never seen Geraldine Page's Oscar winning performance though my best friend considers it one of the most moving he's ever seen. I think Page is spectacularly good in Sweet Bird of Youth and Interiors and terrible in Summer and Smoke (her three other Best Leading Actress nominations) so I'm curious. I'd love to hear your thoughts in the comments. At the time I wanted Meryl to win. Now, my heart unquestionably belongs to Mia Farrow in The Purple Rose of Cairo for 85's gold medal.

1985
the nominees were...

• Anne Bancroft, Agnes of God
• Whoopi Goldberg, The Color Purple (Globe winner)
  
• Jessica Lange, Sweet Dreams
• Geraldine Page, The Trip to Bountiful (watch her win)
  
• Meryl Streep, Out of Africa

More '85 Ladies for context: There were many snubs since it was a rich year for leading ladies but only two snubs if you go by media attention and awards traction. Kathleen Turner won the comedy Globe for Best Picture nominee Prizzi's Honor but went on to experience her third high profile Oscar snub in the first five meteoric years of her career (the Academy never loved her though audiences instantly did). The other snub was Cher in Mask, which prompted her famous confrontational quip at the actual ceremony

As you can see, I did receive my Academy handbook on how to dress like a serious actress

But snubs are often blessings in disguise. The Mask diss probably helped Cher win for Moonstruck in 1987 (we'll get to 1987 next week).

1985 also featured Norma Aleandro in The Official Story (a foreign hit and she was the NYFCC winner), Coral Browne in Dreamchild (zero awards traction but a fine turn), Kelly McGillis in Witness and the following comedy Globe nominees: Mia Farrow in The Purple Rose of Cairo, Glenn Close in Maxie, Rosanna Arquette in Desperately Seeking Susan and Sally Field in Murphy's Romance.

Tom Baxter: We'll live on love. We'll have to make some concessions, but so what? We'll have each other
Cecilia: That's movie talk.

What's your ideal Oscar lineup in 1985? Were you born yet?

May Flowers, Frances and Frances

May Flowers, evenings at 11

It's not a crime to look at Lange. So herewith, Frances Farmer in her prime (surrounded by... hmm, levitating flowers?) and the woman who played her in 1982's Frances, Jessica Lange. There are no flowers in this old photograph of Lange but I think you'll agree that she was in full bloom.


I've never seen any of Frances Farmer's movies (she didn't make many. Any suggestions?) so maybe that was a minor obstacle for me, but I am not a fan of the film. But I do enjoy a good Old Hollywood biopic. It's the one type of biopic that holds immediate appeal for me. So, can we please get some more of them about old Hollywood? Like... a lot more of them. Let's immortalize the immortals.

Didn't you love those lavish scenes in The Aviator when Jude Law was pretending to be Erroll Flynn and Cate Blanchett was pretending to be Katharine Hepburn and neither of them had to break a sweat to drip Old Hollywood charisma? I almost wish Scorsese had let a few other directors onto those sets to film other Old Hollywood biopics simultaneously.

But back to Frances... If the 1982 movie is to be believed Ms. Farmer was a self sabotaging volatile handful. Have you ever stopped to wonder which of today's superstar actresses are actually crazy people under their carefully constructed public personæ? On that note, you know there'll be an Angelina Jolie biopic by 2056!

My vote for a modern actress that deserves a stellar bio is Mia Farrow. My vote for an old Hollywood glamor movie (a la The Aviator) is Jean Harlow or -- I'm too predictable -- Norma Shearer... but especially if Joan Crawford figures prominently in that screenplay.


What's your dream movie star bio?
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Mia Farrow Dwindles

Mia Farrow is not eating and not for the shallow maddening reasons that actresses generally avoid solids. I am concerned. I'll let her do the talking from her 21 day hunger strike...

Today is the ninth day for me with no food, only water. I am still protesting the expulsion of humanitarians from all of Sudan (including, of course, the Darfur region and the refugee camps). Please call the White House (202-456-1111) and tell President Obama to help get humanitarian groups back in Sudan.

While I'm fully aware that desperate ploys like hunger strikes can garner media attention, Steve McQueen's Hunger is too fresh in the mind for this not to give me nightmares. Call me selfish but I don't like to lose great actresses before it's absolutely necessary to do so. Farrow's current standing in cultural hierarchies of movie stars is very low -- people don't talk about her -- but that rich filmography full of great performances will raise public regard after her eventual death. It would have to. That said: that eventual death doesn't need to arrive anytime soon. She's only 64.

Gabriel Stauring is quoted in the LA Times:

There’s no way she can go that long without doing permanent damage. We want to convince her that if we have somebody else that is famous and that would draw attention, that she should stop.

I don't mean to be glib or disrespectful -- I hate it when civilians trash über rich celebrities for trying to improve the world, an impulse that's totally part of the Bitch Pleeze snark phenomenon that we're all guilty of from time to time -- but can't Mia just do what other actors do and use movies as her soapbox? I'm not well versed in the disheartening situations in Darfur and Sudan. I've never called the White House before but I'm tempted. I'm also tempted to cook her omelettes and grilled cheese sandwiches (the extent of my culinary skills) and messenger them her way every day until she starts eating.
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Woody Allen Still Searching For New Muse

By now you've heard that Nicole Kidman will appear in Woody Allen's next untitled film (they're always untitled for a good while) due in 2010. It'll be his fourth film set in London and the cast currently includes Anthony Hopkins, Josh Brolin, Freida Pinto, Naomi Watts, and Antonio Banderas.

While the Kidman/Allen match might prove fascinating -- she loves real auteurs / he loves actresses with neurotic edge -- it also might be a big news item signifying nothing. Think of Julia Roberts and Drew Barrymore starring in Everyone Says I Love You back in 1996. What's that, you say? You'd forgotten they were in that one. You're forgiven. See, they were major gets in the mid-90s but they proved to be far from the highlights of that film (Goldie Hawn easily won 'best in show' honors there). The media has a tendency to see every female casting decision made by Woody Allen as a sign of a new "muse". It's silly but understandable. The pull of the collaborative director/actor mystique is powerful.

Wilder had Jack Lemmon. Ford had John Wayne and Henry Fonda. Kurosawa had Mifune. Bergman had Liv Ullman and Max von Sydow. Werner Herzog and Klaus Kinski drove each other mad. Josef von Sternberg and Marlene Dietrich are forever intertwined. Wong Kar Wai has Tony Leung Chiu Wai. Scorsese had DeNiro and then DiCaprio. And then there's Woody...

Cinema's most beloved/hated intellectual neurotic New York Jew is as regular as fiber, churning out approximately one film per calendar year since nearly the very beginning of his career. He's been in the muse business a long while. First came Louise Lasser in the 1960s (she was his second wife). Girlfriend Diane Keaton took over for a classic run in the 1970s. His longest lasting collaboration came with girlfriend Mia Farrow in the 1980s. She made her first Woody film in 1982 (A Midsummer Night's Sex Comedy) and appeared in every one of his films thereafter until the last one in 1992 (Husbands and Wives) which was filmed during their brutal breakup.

Woody's actresses and the number of his films they appeared in, from top left: Mia Farrow, Diane Keaton, Julie Kavner, Dianne Wiest, Louise Lasser, Judy Davis, Scarlett Johansson (there are a few other actresses who've been in three of his films and a whole bunch have made 2. Here's a full list. Will Nicole Kidman, Naomi Watts or Frieda Pinto get follow up films?

The rest is scandalous history and cinematic meandering. Their very public very nasty split and Woody's subsequent marriage to Farrow's adopted daughter Soon-Yi Previn arguably coincided with a downward spiral in the quality of Woody's films with only Bullets Over Broadway (1994) generating the type of critical and specialized audience hosannas that Woody's films had previously enjoyed. But things have been on the upswing for him since Match Point (2005) his first collaboration with Scarlett Johansson. That thriller won surprisingly strong notices and the best box office he'd seen in many years. Scarlett got a lot of press for being his new muse but three films isn't much to go on... and was she the best thing in any of them? No.

If you ask me I'd say he hasn't yet found (or stuck with) the actress he needs for a truly inspired resurgence. The actresses that bring out the best in Woody's writing are the more mature, complicated, brainy and/or very funny ones. Patricia Clarkson is on her second feature with Woody (this summer's Whatever Works) and I hope he gives her more to do this time around. Why he stopped working with Dianne Wiest, Tracey Ullman or Judy Davis... (valuable Woody players all) is beyond me.

If Woody wants to continue working with the 20something set (and his last several films imply that he does) I humbly request a collaboration with either Ari Graynor (Nick & Norah's Infinite Playlist), Jess Weixler (Teeth), Kirsten Dunst or even Amanda Seyfried who have all exhibited comic flair in one project or another... or at least more than Scarlett herself who tends to be strongest in lower key dramas with or without comic elements (Ghost World, Lost in Translation, etcetera).

I'm excited to see Kidman, one of the best actors in the business, under his directorial hand but I don't hold out much hope that he'll start writing with her in mind. It's been awhile since he was writing regularly for older women. If he'll write something for a 30something woman again (more likely) I think Charlize Theron, who was very good in both of her very bad Woody Allen pictures (Celebrity and The Curse of the Jade Scorpion), deserves a lead role in one of his films. I really do.

Wouldn't she be worth musing over?

Recent Related Post: Whatever Works (Woody's 2009 movie)
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Signatures: Mia Farrow

Adam of Club Silencio here with another look at my favorite actresses and their distinguishing claims to fame.

I'm the wife, you know. I take care of the kids, I host the dinner parties, arrange the social schedule... Try to look pretty so your friends can admire your taste. I've become one of those women who shops all day and gets pedicures, but I want to be more. There's more to me.

-Alice

Mia Farrow really is extraordinary. A special talent who's almost always the exception in her films. Check your calendar - it's not every day you're selected to carry Satan's child. Mia's characters are often everyday women faced with great dilemmas and grandiose choices; not because she's equipped to handle them, but because she's really just better than us.

Rosemary Woodhouse is a perfect example. It's the singular role that would define much of Mia's early career... and a kicky new hairstyle. Born and bred a Catholic schoolgirl in Omaha, Rosemary couldn't be more enchanting and fresh-faced, so it's no wonder Satan took a second glance.


Scattered amongst Woody Allen's best works are some of Mia's finest and most exceptional women. It helps that her performances are cast with such a loving, graceful glow... at least for heft of their lengthy collaboration. Mia's often our sympathetic outsider, who's often the fixation of everyone outside her. Even when her characters are behaving badly, everyone's still drawn to her like a hyper-articulate and well-balanced magnet. Maybe it was Woody's feelings for her at the time, and maybe it's that Mia's strength lies in that everyday mystery.

Take for example her inoculated introspection via Chinese herbs in Alice that sends us through the looking glass of her mundane upper-crust existence. Only Mia could turn a bad trip into a total transformation from metropolitan mom into Mother Teresa. Mia should probably stop taking strange herbs from her on-screen counterparts, but we can rest assured something extraordinary will happen.


Her presence alone is magic. She's served as a mystical and revelatory alter-ego in Another Woman, the fourth wall in female form in The Purple Rose of Cairo... and being emotionally and financially stable was outstanding enough for Hannah and Her Sisters. Jon Cusack offered up $700 for just an hour alone with her! The woman's got powers.

Linkdog

my internet is where I want you to touch loves Slumdog's "throbbing" imagery
The House Next Door 5 for day: Mia Farrow
Film Essent Best Picture locks?
Victim of the Time a prize for Thandie Newton
DaddyCatcher I must have been asleep at the wheel? How had I not heard this Baz Luhrmann/Wicked thing [thx]
MTV Hugh Jackman on being 'the sexiest man alive' and those gay rumors
Berlinale Tom Tykwer's thriller The International will open Berlin
Antagony & Ecstacy has some words for the outrageous anti-feminism of Twilight
i09 further proof that The Dark Knight caused a loss of public sanity earlier this year -- a man left his 2 year-old in a locked car while he watched it. In Utah, natch

Zhang Yimou, Master of Ceremonies

Sorry I've been mostly absent this weekend. The Film Experience (i.e. Nathaniel) is relocating to DC for a month starting tomorrow. This hopefully won't affect you as readers much but you never know. Between packing, shopping for trip and watching the Olympics I haven't had any time to think let alone write or see movies. The summer has been busy: I still haven't even seen Mamma Mia! and that opened weeks ago. Can you believe it? All that buildup to a new Streep Sings moment and no payoff for Natty.

But let's talk about the opening ceremony of the 2008 Olympics for a second.


I'm feeling eternally grateful to political activists and the inimitable Mia Farrow who succeeded in pressuring Steven Spielberg into backing out as the "artistic advisor". I know that people think Spielberg is the greatest film director on earth and [insert hyperbolic statement here] but to me Zhang Yimou, who did directing duties, is better at two things and they happen to be two things the Olympics can't do without: pageantry and spectacle. Plus, he's Chinese. Shouldn't Olympic Ceremonies always run to homegrown talent first? I doubt he needed advice from Spielberg.

Zhang Yimou's filmography includes Raise the Red Lantern, House of Flying Daggers, Curse of the Golden Flower, and Ju Dou so when it comes to a skilled way with eye candy, well, I rest my case. Yimou was pleased with the big night and why not. It was the best opening ceremony I've personally ever seen: that absurdly precise choreography of thousands, those vibrant storytelling colors, the elaborate but still human special effects and costumes, the incongruously calm brush strokes in the midst of chaos; It was just like Hero only less violent.

I'm sure it cost more to produce than three over budget Hollywood blockbusters put together.

Just about the only thing that wasn't perfect was the absence of Chinese movie stars. Did we really need what I presume was China's Liberace? Did we really need ...Sarah Brightman? (a useful question in many situations). I know the torch finale is an athletes-only kind of gig but couldn't they have let Gong Li or Tony Leung Chiu Wai do a lap with it or something before the big scrim-running finale?

Did you watch? Did you love?
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Tuesday Top Ten: The Queens of Screams

Tuesday Top Ten: For the listmaker in me JA and the listlover in you you

JA from MNPP here, guest-blogging the Top 10 for this week.

The way I reckon it, I don't want to step on any toes while guesting here, so I want to choose a topic that Nathaniel would never do on his lonesome. But I also want to choose a subject that'll tickle y'all's fancy at the same time. And it's gotta be something I know something about (which narrows the field down considerably). So taking into account The Film Experience's general love for the actresses (hence Nat's delightful term "actressexuality"), and my own love for horror movies, and (bless his scaredy-cat lil' heart) Nat's aversion to the same... well, a list was born unto us this day!

To the Year One, y'all. Tis a list of what I have deemed The Top 10 Leading Ladies of Horror. Basically... these are my 10 favorite female horror movie performances. I went for just leading ladies here, which kept stellar supporting characters (Hiya, Minnie Castavet!) from stealing the spotlight (again). I tried to cover all the bases - we've got the victimized types of course - where would horror be without 'em? - but also our tough chicks, and then there's those loveable crazies too. So without further...

10) Heather Donahue in The Blair Witch Project - “I am so sorry! Because it was my fault.“ – It’s easy to hate on Heather… she brings it on herself, really. Like so many of the characters in this most recent wave of first-person horror (think Cloverfield) that picked up from Blair’s 10-year old success, Heather was labeled annoying and self-centered and well won’t you just put the camera down, lady?


But horror would be nothing without its determination to show us the lesser sides of ourselves – people making terrible decisions and being punished so we the viewers don’t have to is par for the course. Hell, sometimes it's the whole course. And Heather, in her justifiably famous snot-faced soliloquy, turns the camera in on that side of ourselves that we’d like to think we wouldn’t be in that situation but 9 times out of 10 will, most assuredly, be. And if one of the most vital parts of what I consider to be a great horror performance is the ability to truthfully convey real fear – an uncensored, wide-eyed terror – Donahue earns her spot on this list for that alone.

9) Linda Blair (and Mercedes McCambridge... and Ellen Burstyn) in The Exorcist - "Keep away. The sow is mine." – It just doesn’t feel right leaving off credit to McCambridge, the woman who gave voice to little Regan McNeil’s demonic possession. So I had to include her name. That said, as horrific as the second-half of this film is (where credit must be paid not only to McCambridge but the make-up and effects people as well) I find the medical examination scenes of the first half nearly as terrifying as the later blasphemies, and all we have there is tiny Regan thrown into the midst of a bunch of loud machinery, so obviously Blair is doing some heavy lifting on her own. And then I find I must add on Ellen Burstyn’s fine performance as Regan’s helpless mother who can only look on… all said, it’s difficult for me to choose just one aspect to praise here; they’re all inextricably linked. The mother, the daughter, and the unholy spirit, as it were.

8) Kathy Bates in Misery - “God I love you.” – Yes, the film spins Annie Wilkes off into a bit of a hysterical caricature in those final ten minutes or so. But before she becomes an unkillable madwoman, Bates' performance is one of the simultaneously funniest and saddest portrayals of deranged loneliness ever put on-screen. Because I’ll be damned if she doesn’t just know that the writer named Paul Sheldon’s literal fall into her lap wasn’t a gift sent from cockadoodied wherever, and she’s gonna make it bitchin' worthwhile. Why shouldn’t the fans have their say, anyway? I’m not going to be the one to argue that point and make her feel all oogy.

7) Jamie Lee Curtis in Halloween - “It was the boogeyman, wasn't it?” – She set the archetype in stone. The Final Girl. Sally may’ve screamed louder (and longer... and earlier), and Nancy might’ve built exploding light-bulb booby-traps, but nobody personified exactly what the Slasher genre needed better - the female yin to the male killer's wang - than JLC's Laurie Strode. Almost too smart for her own good – she felt it coming, annoyed everybody, but still couldn’t stop it all the same – there’s myriad reasons Curtis is, to my mind, still the greatest straightforward Final Girl, but none moreso than the first half-an-hour or so as we watch Laurie spot the boogeyman behind the bushes or in the backyard, and see her preparedness despite herself click defiantly into place.


6) Jodie Foster in The Silence of the Lambs - “Some kind of screaming, like a child's voice.” - Sweet Clarice Starling, just trying to bury the sounds of those lambs to the slaughter. Little girls, they go next, off to the dressmakers... somewhere in America there is a pit in a basement with a Senator's daughter all holed up. Loose skin. Come and get it, Precious.

5) Sigourney Weaver as Ellen Ripley - “Get away from her, you bitch!“ – Of the first two Alien flicks, I only really consider Ridley Scott’s original film to be a horror film. But Weaver’s Ripley doesn’t emerge as the main player until the very end. She’s most obviously the main character of James Cameron’s Aliens, but that’s an action movie with monsters. So how do I justify placing her on a list? By just mushing the entire quadrilogy’s worth of her performances together. Yes, I’m cheating. But this list just seemed wrong without her. Where maybe too many of the women on this list are of the victimized sort - immediately previous company excluded, of course - I needed to include a woman who rocks off an acid-spewing alien’s face with a gun larger than my entire torso to even things out. And then, like a full half of this list, she's Mother, too. And if there's one thing this list proves - and this list, too! - nothing is scarier than mommy-hood.

4) Shelley Duvall in The Shining - “We're all going to have a real good time.” – Always overshadowed by Jack Nicholson’s Jack Nicholson-sized performance, Duvall’s Wendy Torrence is and always will be my favorite part of Kubrick’s coolly malignant flick. Duvall was always channeling her gawky physiognomy to great effect with her characters, whether it was her hysterical Olive Oyl stroll or just the way she held a cigarette in 3 Women… but nowhere to my mind was she more brilliant than here. Has anyone ever held a knife or an axe more awkwardly? And watch the way her occasional outbursts of positive energy – always so sadly forced - quickly slide back into a slumped-over shell of a woman, beaten down both literally and figuratively, and then the eventual, probably Kubrick-inflicted real-seeming terror that courses across her bug-eyed face… it’s a vanity-free, often humiliating role, which Duvall upends and owns with her every silent scream.

3) Ellen Burstyn in Requiem For a Dream - “I like thinking about the red dress…” – Like the invisible arm of Death itself that kills so many teenagers – and so imaginatively! - in the Final Destination flicks, the horror of Requiem is of a different breed - it’s the mental demons inside these characters that tear them to shreds. But make no mistake – this is a horror film, and one of the most horrifying ever made. And nowhere does that horror manifest itself more cruelly than in the guise of a lonely Coney Island widow that can’t let go of a dream long dead. Burstyn’s physical deterioration as she’s swallowed whole by her addictions is haunting enough – the final shots of the film rend my heart every time – but Burstyn makes it clear from the start that Sarah Goldfarb has one foot over the precipice just looking for anything that might offer her even the briefest of smiles.


2) Sissy Spacek in Carrie - “It was bad, Mama. They laughed at me.” – The most spellbinding moments in DePalma’s 1976 classic for me are the ones where we see Carrie White begin to come out of her shell – the way her inherent good-nature peeks around that shy smile… a flurry of compliments from Billy the cute boy asking her to the prom and from her teacher who means so well… all of which lead to that spinning-out-of-control on the dance-floor moment. And then falls the crown. And we all know what horror lay beneath that heavy load. Carrie White is horribly human… until she’s not human at all anymore. And then she’s back again… but it is too late. After all, sin never dies... and Spacek makes us understand every step of the way, with a most terrible accuracy, what has gone so very wrong.


1) Mia Farrow in Rosemary's Baby - “This is no dream! This is really happening!” – Is it simply the paranoia of a young lady with too much time on her hands, or is there something sinister going on with that too-friendly old couple next door? Is her husband distracted with work, turned off by her constant sickness, or has he perhaps made a Faustian trade-off with the soul of little Andy-or-Jenny? In the book, Rosemary Woodhouse is described as a large-hipped Midwestern girl, built for breeding, but in one of the very few deviations from page to screen, Polanski cast Farrow (once Tuesday Weld backed out) and the character clicked into perfection. Because the story is about watching the span of pregnancy as if in the nightmarish reflection of a fun-house mirror, it’s vital that Rosemary look like someone devoured by that giant belly, and tiny little Mia in her yellow sun-dresses with the face of a ghoul poking out fit the bill, and then some. But even beyond the physical perfection of the casting, Farrow nails every note of paranoia, and as we watch her flail about under the arms of all those she’s trusted as they drug her into unconsciousness, we truly know what helplessness is.


Well that was fun/painful. And if you want to see who just missed the cut, you can head over to MNPP where I spit out Ten More Lovely Ladies (Wah-ah-ah!) that are also worth their weight in carnage.
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