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Showing results for tags 'Academy Award - Best Supporting Actress'.
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In the process of watching "Who's Afraid of Virginia Woolfe" for the second time,
*** SPOILER ALERT *** (Please do not read this if you're planning on watching the film for the first time.) I haven't seen "Rosemary's Baby" in decades - the only thing I remembered about it was that it starred Mia Farrow giving birth to the devil's spawn, and now that I'm prompted, that it was directed by Roman Polanski. The year that I've recently concentrated on was (coincidentally) Roger Ebert's first year as a critic, 1967, and Rosemary's Baby is from 1968, making it right after what I consider to be one of the most significant years for Hollywood. Incidentally, I've read Ebert more posthumously than I did when he was alive, and although I don't always agree with him, I consider him to be one of the greatest critics in any field that I've ever read. My father used to *love* "Siskel & Ebert & the Movies" - "This is the best show on television," I remember him joyfully telling me, repeatedly - as my father became older and more feeble, he rented 2-3 movies a day, every day, for several years - besides my mom, movies were my father's great love when he got older, and he saw more of them than anyone I've ever known. As a second tangent, I remember very well Mad Magazine's movie satire, "Rosemia's Boo-boo" - not the details (I was only 7); just the fact that it existed - the cover is pretty funny: One amazing thing is that Rosemary's Baby only came out five years before "The Exorcist" - it seems like a *lot* longer to me. There are several movies I distinctly remember my parents making a big deal out of going to see: The Exorcist was one, and "The Godfather" was another, both being around the same time. I was "treated" to seeing "2001: A Space Odyssey" when it came out the same year as Rosemary's Baby - I didn't appreciate it at all, but I remember the usher selling pamphlets, walking around the theater before the film started, hawking, "2001: A Space Odyssey, 2001: A Space Odyssey - Get the official brochure for 2001: A Space Odyssey" - it's funny what kids remember, and what they don't, because that had - by far - the greatest impact on me. I don't remember another time when I've seen an usher hawking brochures in a theater before a movie like that, but my memory doesn't mean much. I love the subtlety of John Cassavetes in this film, although much of that was probably due to the screenplay of Polanski - he changed from being a completely human cynic, to an agent of the devil, and the viewer is unable to pinpoint exactly when this change happened - although in retrospect, it happened early on. Right when Rosemary Woodhouse (Mia Farrow) reaches her breaking point about the quack, Dr. Sapirstein (Ralph Bellamy), and the pain she's been in for an extended period of time, the pain instantly goes away - that's a brilliant ploy on the part of the Devil. This isn't the first film to juxtapose raw evil with a child (I can think of "The Bad Seed," and also "The Twilight Zone" episode, "It's a Good Life," both of which used pre-adolescents, but neither of which used a fetus or neonate) - so this might be one of the first-ever movies to impose Satanism on a pregnant woman, certainly running parallel (and opposite) to the Virgin Mary giving birth to the baby Jesus. I just now this afternoon had a piano lesson, and I mentioned to my teacher that I naturally think polyphonically, so the very second I heard "The name is an anagram," I was sure I knew what it meant: The "tanas" root would redirect as "Satan." - but, of course, I was wrong, as the root is spelled "tannis"; the real meaning of that cryptic instruction is much more clever. Rosemary also taught me a new word: "covens." Man, I hate to say this, but when Rosemary has sequestered herself in her apartment - attempting to flee her creep-o husband, Guy, and Dr. Sapirstein - when she's on the phone, and the two sneak by her in the background, they look *exactly* like something out of Monty Python's "Ministry of Silly Walks." Now try and see that scene - supposedly fraught with tension - without laughing your ass off (the movie is free with a Hulu membership, and the scene takes place with 20:30 remaining in the film). Goodness, I'm at the part with the Asian gentleman with the camera. Ugh. I actually *still* don't know what's going to happen, although it has already been revealed who the baby's real father is; we just haven't seen "little Adrian" yet. Wow, I just finished the film: *Very* well-done ending. I was fearing that they'd show the baby, and that would have ruined everything - you can't show pure evil, but you can imagine it. I also thought Rosemary might have been carrying a second knife, and was going to kill the baby (without showing him), which would have been a brute-force outcome; as it turns out, maternal bond(age) wins out in the end - no matter what. In 2014, the Library of Congress selected Rosemary's Baby for preservation in the National Film Registry; I suspect if Rosemary had killed the baby at the end - which I believe would happen had it been filmed for today's audiences - the film would not be such a classic.
I'll admit it, Joe: "Roadhouse" (1989) is a guilty pleasure of mine. This was right around Patrick Swayze's prime, and as much derision as "Ghost gets from serious moviegoers, it was released just a year after "Roadhouse," and with a beautiful Demi Moore (I had forgotten how pretty she was), a surprisingly important role by Whoopi Goldberg, and Tony Goldwyn's perfect rendition of a slime-maggot, this annoyingly cloying rom-com had four strong parts. Even the murderer, Willie Lopez (Rick Aviles) was very well-played - this was a solid ensemble: I can see people being wildly irritated by the film, but does anyone have problems with its cast? Yes, I saw "Ghost" last night. I had just seen "Django Unchained" for some "mindless escapism" from a stressful week, and it was about as relaxing as visiting the U.S. Holocaust Museum - I needed escapism from my escapism. I didn't honestly think I'd watch more than ten minutes of the film, but I just kept watching, and before I knew it, I was well into it - I'd seen it once before in full, in the theater when it came out, so it had been over twenty-five years. With "Dirty Dancing" in 1987, "Sleepless in Seattle" (1993), "Pretty Woman" (1990), "When Harry Met Sally" (1989), "Groundhog Day" (1993), and numerous others, "Ghost" was dead-center in the tenderloin years of the saccharine rom-com (please forgive me for using that term, which is nearly as cloying as the movies are). The late 1980's and early 1990's had some major investment in these films, and they were immensely popular - for no good reason, I will add; meh, they're mindless entertainment, and sometimes you just need that, you know? There's very little point in rehashing the plot, or commenting on much of anything. I had completely forgotten what a major role Whoopi Goldberg played (and didn't realize she won an Academy Award for Best Supporting Actress). The demons are legitimately scary if you aren't ready for them - I had forgotten how disturbing they were. And I thought the acting was really good, pretty much all the way around - Patrick Swayze's look of sympathy when Carl died was incredibly convincing, for example, and he sustained it, completely setting aside what a first-class *jerk* the guy was, and knowing full well that he had an eternity of suffering ahead of him. You know what? Laugh at me if you will, but I think this movie is sweet. I don't love it, but I like it. That probably ratchets me down a few notches as a "film critic," but I'm not a film critic, so that's okay. Now, as to it's insane popularity, well, I guess I can see how it can appeal to the masses - in fact, sure I can. But for anyone to think this is more than "sweet," "well-acted," and "touching" would be a little bit much for me - those adjectives are about as much as I can muster, and if someone were to dismiss it entirely - in much the same way that theater critics dismissed "Cats," I could perfectly well understand. I might even say, "Ditto." I feel no need to watch this again anytime soon, but I have no regrets seeing it a second time. Thumbs up. Three stars. A solid "B"." A perfect date movie with a feel-good ending. It was my "mindless escapism," and it served its purpose - mock me if you wish, I will understand. And I think the "Get Off My Train!" scene with Vincent Schiavelli was excellent. *** SPOILER *** Why do I feel like I just wrote a positive review of Graffiato?