Word: celluloid
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Dates: during 1990-1999
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...Seraing, Belgium--or any other ornaments. The photography is dominated by shaky hand-held camera-work, lighting is sparsely natural and casting is reduced to four principal actors. It is initially frustrating and somewhat trying to a North American audience, used as we are to seeing the glossy celluloid images associated with high production values. Here we get grainy and bleached images. Similarly, no music accompanies the narrative to underscore the tension and wrenching moments; all we are given is the sound of gravelly footsteps, running water and the other minutiae. The mundane sounds pervade Rosetta's microcosm, because, being...
Reader, come back! We promise to use standard English (mostly) from now on. And if the words get too gnarly, relax and look at the pictures: those Frisbee-eyed kids, the guys with their steel-sinewed biceps, the heroines' celluloid bosoms that defy gravity and logic--and all with spiky hair that could really use some mousse...
...Moro is as intelligently complex as many of the human characters. Others, however, are slightly weird--particularly Minnie Driver's voice-over as Lady Eboshi. Driver's Eboshi is commanding, complex, and fascinating. She delivers her lines with such complete conviction it is hard to believe that the celluloid Eboshi has no voice of her own. But strangely, Driver's voice is obviously British, and Lady Eboshi is clearly not. Using British actors to play "upper classes" is fairly common in American film but is incredibly distracting when the characters are not supposed to be American or British. Coincidental...
...task the writers faced in this issue was not simply telling a story but also bringing special insight. Playwright and screenwriter Paul Rudnick (In & Out, Addams Family Values) stirred up a refreshing appraisal of the iconic appeal of Marilyn Monroe, focusing on the legacy of her celluloid image instead of the tabloid conspiracies that crowd her persona. The jazz singer Diane Schuur made poignant connections between her own blindness and that of Helen Keller. Rita Dove, America's former poet laureate, produced a tightly woven mini-epic in prose of the moment of Rosa Parks' apotheosis from unprepossessing Montgomery...
...increasing nightmare to work with, recklessly spoiled and unsure, barely able to complete even the briefest scene between breakdowns. Only in the movies can such impossible behavior, and such peculiar, erratic gifts, create eternal magic--only the camera has the mechanical patience to capture the maddening glory of a celluloid savant like Monroe. At her best, playing warmhearted floozies in Some Like It Hot and Bus Stop, she's like a slightly bruised moonbeam, something fragile and funny and imperiled. I don't think audiences ever particularly identify with Marilyn. They may love her or fear for her, but mostly...