And for best Pro Golfer the nomin--- er, oh yes yes.
The Producers Guild of America. Righty-o.
Best Picture
127 Hours Danny Boyle, Christian Colson
Black Swan Scott Franklin, Mike Medavoy, Brian Oliver
Inception Christopher Nolan, Emma Thomas
The Fighter David Hoberman, Todd Lieberman, Mark Wahlberg
The Kids Are All Right Gary Gilbert, Jeffrey Levy-Hinte, Celine Rattray
The King's Speech Iain Canning, Emile Sherman, Gareth Unwin
The Social Network Dana Brunetti, Cean Chaffin, Michael De Luca, Scott Rudin
The Town Basil Iwanyk, Graham King
Toy Story 3 Darla K. Anderson
True Grit Ethan Coen, Joel Coen, Scott Rudin
The snubbee here in terms of Oscar buzz is Winter's Bone. But it's a tiny indie and maybe that's not what the PGA wanted to value? Still it's absence reminds us that the Best Picture race, is really down to those 11 films. Last year, there were only about 12 films standing before Oscar nominations were announced. Is it always going to be this simple to predict with the new widened Best Picture field. If so, sadness. Predicting should be tougher. But at least it's tough to say which of the 11 is getting the Oscar boot.
Showing posts with label television. Show all posts
Showing posts with label television. Show all posts
Tuesday, January 04, 2011
Tuesday, December 28, 2010
A Lisa Kudrow Binge
| "I don't need to see that." |
I've usually enjoyed her comic movie roles (especially in the Don Roos films The Opposite of Sex and Happy Endings) though I was a little unnerved by what seemed to be an encroaching bitterness in her comic persona the last time couple of times we visited (Kabluey and Easy A). I was starting to miss "Phoebe"'s sunniness on early seasons of Friends.
But I had somehow never seen The Comeback (2005) which I watched this week (two episodes left... maybe I should save them). Its very brilliance probably doomed it as it's an exceedingly uncomfortable showbiz comedy. Its comic impulses have satiric bite... one might call it comedy with real fangs. I was squirming even while laughing loudly. Immediately after watching those I tried a few episodes of Web Therapy, which I am also super late to -- hey, I'm too busy with the movies-- and now I'm fully back on Team Kudrow which I had somehow slipped away from. I got so nostalgic for past Kudrow glory that I even ended up looking up what Jennifer Aniston & Courtney Cox were up to, which I assure you I have never purposefully done before, though I do watch and enjoy Cougar Town on occasion.
| Kurdow laughing at Streep's guest role antics on Web Therapy |
My point is this: Lisa Kudrow is talented and underappreciated, even if she's not exactly underrewarded - hello gazillion$ in Friends residuals. She's probably only less of a mainstream presence now because her preferred style of comedy is of the take-no-prisoners variety.
Here's the first of the three most recent episodes of Web Therapy (episode #46) which starred Meryl Streep (as "therapist" Camilla Bowner) who is doing reparative therapy on Fiona Wallice's (Lisa Kudrow's) gay husband. Wickedly subtle humor courses under the less subtle verbal gags ... it's all in their nuanced line deliveries, reactive beats and funny expressions.
Are you now or have you ever been on Team Kudrow?
Related Reading:
Signatures: Lisa Kudrow
Monologue: "Michelle's Miracle Glue"
Labels:
Lisa Kudrow,
Meryl Streep,
television,
webisodes
Thursday, December 16, 2010
Screen Actors Guild Nominations
JoBeth Williams welcomes you! "They're heeeeeeeee--eeeere"
Giggly Rosario Dawson & Angie Harmon announced the SAG nominations at 9:00 AM EST after being introduced by JoBeth Williams.
Though this is the last major clue as to where Oscar acting nominations will go, it is not the "this is it!" twin that many like to claim.
Important Differences From SAG to Oscar: Contrary to what you often read on the internet there is not significant overlap in the voting pools between SAG and Oscar. Unless they've recently changed their rules, SAG randomly chooses a sliver of its membership each year to do the nominations. Some miniscule percentage of them might be Academy members but the numbers don't add up to a big percentage. SAG is a mammoth union, representing 200,000 film, tv and background performers and all dues paying members can vote on the winners. Oscar's acting branch is infinitely harder to join; it's a final club on steroids to use The Social Network as handy 2010 reference. There are 1,205 voting actors in the Academy who all get nominating ballots. All of the Academy's 1,000+ actors are or were SAG members (having acted in films for years) but the other 198,795 SAG members are definitely not members of the Academy of Motion Picture Arts and Sciences.
Other key differences: SAG nominators are (statistically) fonder of child and very young adult actors than Oscar. They're also arguably more populist in their choices overall having given the big prizes to people from smash comedies like Renée Zellweger in Chicago (2002) or Johnny Depp in Pirates of the Caribbean (2003) and arguably more influenced by your place in the Hollywood food chain, choosing legends over newbies for wins in hotly contested contests like Bening beating Swank in 99/00, Day-Lewis over Brody in 02/03 or Christie beating Cotillard in 07/08. They are also not allowed to vote their own mind when it comes to "lead" versus "supporting" issues. Oscar voters may vote for you in whichever category they personally feel is correct. SAG voters may only vote for you in the category that your studio submits you in (which explains Keisha Castle Hughes' bizarre "supporting" citation at SAG for Whale Rider).
Nominations with commentary after the jump
Giggly Rosario Dawson & Angie Harmon announced the SAG nominations at 9:00 AM EST after being introduced by JoBeth Williams.
Though this is the last major clue as to where Oscar acting nominations will go, it is not the "this is it!" twin that many like to claim.
Important Differences From SAG to Oscar: Contrary to what you often read on the internet there is not significant overlap in the voting pools between SAG and Oscar. Unless they've recently changed their rules, SAG randomly chooses a sliver of its membership each year to do the nominations. Some miniscule percentage of them might be Academy members but the numbers don't add up to a big percentage. SAG is a mammoth union, representing 200,000 film, tv and background performers and all dues paying members can vote on the winners. Oscar's acting branch is infinitely harder to join; it's a final club on steroids to use The Social Network as handy 2010 reference. There are 1,205 voting actors in the Academy who all get nominating ballots. All of the Academy's 1,000+ actors are or were SAG members (having acted in films for years) but the other 198,795 SAG members are definitely not members of the Academy of Motion Picture Arts and Sciences.
Other key differences: SAG nominators are (statistically) fonder of child and very young adult actors than Oscar. They're also arguably more populist in their choices overall having given the big prizes to people from smash comedies like Renée Zellweger in Chicago (2002) or Johnny Depp in Pirates of the Caribbean (2003) and arguably more influenced by your place in the Hollywood food chain, choosing legends over newbies for wins in hotly contested contests like Bening beating Swank in 99/00, Day-Lewis over Brody in 02/03 or Christie beating Cotillard in 07/08. They are also not allowed to vote their own mind when it comes to "lead" versus "supporting" issues. Oscar voters may vote for you in whichever category they personally feel is correct. SAG voters may only vote for you in the category that your studio submits you in (which explains Keisha Castle Hughes' bizarre "supporting" citation at SAG for Whale Rider).
Nominations with commentary after the jump
Labels:
Dexter,
Hilary Swank,
Mila Kunis,
Modern Family,
Oscars (10),
SAG,
television
Tuesday, December 14, 2010
The Most Hilarious Thing About The Globe Nominations Is...
... no, no, no. It's NOT that hideous Comedy/Musical best picture lineup. It's even more absurdist than that.
The most hilarious thing about the Golden Globe noms is...
Only at the Globes, people, only at the Globes.
This is the first and last circumstance in which they'll ever be mentioned in the same breath. We hope. LOL, this is so not a fair fight. (FWIW, the other nominees for Best Actress in a Miniseries are: Hayley Atwell in Pillars of the Earth, Emmy winner Claire Danes for Temple Grandin and Romola Garai in Emma.)
The most hilarious thing about the Golden Globe noms is...
| [photos from: Return to Cranford and The Client List] |
Dame Judi Dench vs. Jennifer Love Hewitt
Only at the Globes, people, only at the Globes.
This is the first and last circumstance in which they'll ever be mentioned in the same breath. We hope. LOL, this is so not a fair fight. (FWIW, the other nominees for Best Actress in a Miniseries are: Hayley Atwell in Pillars of the Earth, Emmy winner Claire Danes for Temple Grandin and Romola Garai in Emma.)
Monday, November 22, 2010
Game of Thrones
Peter Dinklage has quite a role in his hands. He plays Tyrion Lannister, the manipulative, whip smart "imp" of the royal house of Lannister (the Lannisters are the villains mostly... Martin does a fine job of making sure your allegiances shift on occasion.) Tyrion is possibly the most complex character in a book that's teeming with vivid personalities. Not all of them are multi-faceted exactly but they all pop out from the page. Do you think other vertically challenged actors applaud or resent him? There aren't that many roles out there and doesn't he gets them all. I remember registering shock when I saw Jordan Prentice in In Bruges. I was like "Peter Dinklage missed out on a role?"
EW has a new photo gallery of the characters. Looking through it I'm a bit worried about the budget (something about the costumes or armor seems too simple?) and I don't like how they've visualized Daenys Targaryen (Emilia Clarke) at all though that whole thread is my least favorite part of the stories many tentacles.
Are you excited for this production?
Labels:
adaptations,
books,
Game of Thrones,
Peter Dinklage,
television
Wednesday, November 17, 2010
Gleeful Gwyneth
Last night's Glee. Do we need to discuss? Stunt casting, so flagrantly used on television and stage to yield press & ratings dividends is a completley unreliable tool for producing quality entertainment. Last night was a happy example of the times when it works. "The Substitute" reminded us how joyful Comedic Gwyneth Paltrow can be.
Somewhere after her Oscar for Shakespeare in Love, she started seeming super morose onscreen as if depressive gloopy drama was her true calling. And then she went yet GOOPier. But last night she glided through her role as "Holly Holiday", Spanish speaking catchphrase wielding Cee Lo loving totally irresponsible teacher with such relaxed shimmer, that it only reminded how radiant she was 12 years ago before she won the Oscar.
It's quite possible, if her subsequent career is any indication, that she doesn't take her acting career too seriously but if so, why not move in that direction; funny, tossed off, 'I'm only here to have fun' treats for her starved fans? We've got plenty of actresses who can handle heavy dramatics... and some can do it with more pizzazz or more varied nuance than Paltrow. We've got too few who can get all sparkly while joking, singingand dancing. Oops, scratch the last part. Paltrow's dancing was even more clubfooted than Zeéeee's was doing the same number, Chicago's wondrous "Hot Honey Rag" finale. Well, at least Gwynnie sparkles when she sings!
Towards the end of the show there was a spot for Gwynnie's new movie Country Strong. I recently got a major thumbs down on the movie from a trusted industry source but I enjoyed hearing Gwyneth sing so much last night that I might be up for it anyway. I love the singing actresses, I do. It's just too bad that she's playing an alcoholic. No more crying Gwynnie, make it sparklier! 'It's kind of your thing.'
Here's Gwyneth singing "Country Song" at the CMA Awards last week.
You like? Maybe Best Original Song attention?
Related Posts
Somewhere after her Oscar for Shakespeare in Love, she started seeming super morose onscreen as if depressive gloopy drama was her true calling. And then she went yet GOOPier. But last night she glided through her role as "Holly Holiday", Spanish speaking catchphrase wielding Cee Lo loving totally irresponsible teacher with such relaxed shimmer, that it only reminded how radiant she was 12 years ago before she won the Oscar.
It's quite possible, if her subsequent career is any indication, that she doesn't take her acting career too seriously but if so, why not move in that direction; funny, tossed off, 'I'm only here to have fun' treats for her starved fans? We've got plenty of actresses who can handle heavy dramatics... and some can do it with more pizzazz or more varied nuance than Paltrow. We've got too few who can get all sparkly while joking, singing
| Santana: What would you know about Cee Lo? You're like...40. Gwynnie: Top 40, sweet cheeks. |
Towards the end of the show there was a spot for Gwynnie's new movie Country Strong. I recently got a major thumbs down on the movie from a trusted industry source but I enjoyed hearing Gwyneth sing so much last night that I might be up for it anyway. I love the singing actresses, I do. It's just too bad that she's playing an alcoholic. No more crying Gwynnie, make it sparklier! 'It's kind of your thing.'
Here's Gwyneth singing "Country Song" at the CMA Awards last week.
You like? Maybe Best Original Song attention?
Related Posts
Labels:
Chicago,
Country Strong,
Glee,
Gwyneth Paltrow,
Oscars (10),
television
Tuesday, November 02, 2010
TV @ The Movies: "Glee" and "The Walking Dead"
What is the ideal format for talking about tv? I'm beginning to think it's Twitter since even in the days of next day recaps and the 'watch it on your own time' DVR reality, people often watch it in great masses, round about the same time -- only staggered with everyone in their own slightly skewed time zones. I'm on NESST (Nathaniel's Eastern Stop & Start Time). TV has never been the all immersive experience that the movies can be... so it makes sense that people are now tweeting as they're watching. TV is jerry-rigged to withstand distractions: housework, phone calls, commercials. Twitter and Facebook only amplify this and now everyone has become their own tv critic, ringleader, announcer, omniscient narrator, diarist. I always wish that the movies were this accessible to people to enjoy en masse but... sigh.
With deeper immersion comes less accessibility I suppose.
Anyway, Sunday night I opted not to tweet through AMC's much ballyhooed THE WALKING DEAD. I was curious before the series even began how they would work around television restrictions, only to realize that there are no restrictions. You can apparently show anything on non-premium cable during prime-time hours including little girls and grown men getting their brains blown out (in slo-mo!) and men getting their heads smashed to bits with baseball bats as long as nobody says the naughty "F" word or shows the naughty boobies, butts or dangly man-bits.
With deeper immersion comes less accessibility I suppose.
| If she's growling and decomposing, shoot her! |
[Lots on GLEE & more WALKING DEAD after the jump]
Labels:
28 Days Later,
Glee,
horror,
MPAA,
musicals,
Rocky Horror,
television,
The Walking Dead,
Tim Curry,
TV at the Movies,
zombies
Tuesday, October 19, 2010
Mad Men at the Movies: 'Adieu, Adieu, To You and You and You-ooo'
Previously on MM@M: 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" 4.8 Peyton Place 4.9 "The Beautiful Girls"
In Mad Men at the Movies we investigate the cinematic references in the Emmy winning drama Mad Men. Though we accidentally took a one month hiatus from this series (due to a paucity of movie references) we shouldn't have. The series is mainly an excuse to talk about the show. It's the best on television. In fact, I haven't loved a show as much as Mad Men since the heyday of Buffy the Vampire Slayer (circa 1998/1999)... inbetween those two titans only Battlestar Galactica and Once & Again got to me in similarly seismic ways. Which is to say, I love it madly. If I were to coincidentally receive an old engagement ring right before watching an episode, I would undoubtedly impulsively propose to it.
4.13 "Tomorrowland"
Season 4 has seen Don Draper (Jon Hamm) survive a tumultuous year filled with career highs intermingled with scary career scares but emotionally he's been hovering at the edge of the abyss for the entirety of 1965. In the season capper, he takes his kids to Disneyland (hence the title... and a sly one, too). He's already slept with his secretary Megan (Jessica Paré) in a previous episode but he invites her along as replacement babysitter since the ex Mrs. Draper has impulsively fired the children's life long nanny Carla. Don can't be expected to change diapers!
Though Don's sudden marriage proposal to Megan played like a shock -- I watched the episode at a party thrown by the Lipp Sisters and the room went audibly gaspy -- it shouldn't have; the whole season has been leading here.
In Mad Men at the Movies we investigate the cinematic references in the Emmy winning drama Mad Men. Though we accidentally took a one month hiatus from this series (due to a paucity of movie references) we shouldn't have. The series is mainly an excuse to talk about the show. It's the best on television. In fact, I haven't loved a show as much as Mad Men since the heyday of Buffy the Vampire Slayer (circa 1998/1999)... inbetween those two titans only Battlestar Galactica and Once & Again got to me in similarly seismic ways. Which is to say, I love it madly. If I were to coincidentally receive an old engagement ring right before watching an episode, I would undoubtedly impulsively propose to it.
"Mad Men, you make me very happy. Will you marry me?"
4.13 "Tomorrowland"
Season 4 has seen Don Draper (Jon Hamm) survive a tumultuous year filled with career highs intermingled with scary career scares but emotionally he's been hovering at the edge of the abyss for the entirety of 1965. In the season capper, he takes his kids to Disneyland (hence the title... and a sly one, too). He's already slept with his secretary Megan (Jessica Paré) in a previous episode but he invites her along as replacement babysitter since the ex Mrs. Draper has impulsively fired the children's life long nanny Carla. Don can't be expected to change diapers!
Though Don's sudden marriage proposal to Megan played like a shock -- I watched the episode at a party thrown by the Lipp Sisters and the room went audibly gaspy -- it shouldn't have; the whole season has been leading here.
Monday, October 11, 2010
No Exit Through The Simpsons Shop
Did you catch this frankly amazing Banksy-adjusted opening to The Simpsons? Here it is in all its subversive glory.
This makes me think two things.
This makes me think two things.
- I probably should have seen this year's buzzy Banksy street art doc Exit Through the Gift Shop. Of the three documentaries at Sundance that garnered the most "you must see this!" buzz -- the others being Catfish (loved) and Waiting for Superman (did not enjoy) -- it's the one I skipped.
- Maybe I should still be watching The Simpsons?
Labels:
animation,
artwork,
documentary,
television,
The Simpsons
Monday, October 04, 2010
"Mary, did you see The Omen?"
I'm multi-tasking! It's a new episode of actors on actors, tv @ the movies and a monologue.
Recently after an accidental couch potato binge on The Golden Girls -- you all know what that's like, right? -- I realized that the boyfriend had never seen the classic 70s sitcom Soap, which is from the same creative team, so we've been watching. The main character is rich dotty matriarch Jessica Tate (Katherine Helmond of Whos The Boss fame). She brings up movies and movie stars constantly. The fantasy of movies is a natural fit, since she doesn't have the firmest grasp of reality. She's basically a template for Rose on Golden Girls. Helmond, like White after her, has a very firm grasp of comic timing.
In this scene she wants to look through a family photo album because she believes they've all been cursed.

Have you ever gotten into an entertainment mood that you couldn't quite shake? See I've been in this broad yuks mood for like a month now. It's not a normal mood for me. I think it started when I caught the Off Broadway Hitchcock spoof The 39 Steps a few months back which had a lot of inspired slapstick. Recently this mood was reignited watching Mel Brooks Silent Movie (1976) on BluRay (from this terrific box set that). Lets just say I hurt from laughing... especially during Bernadette Peters repeat vavavoom number. Her hip swivels just knock audiences right over. Literally.
The success of any comedy is so dependent on your mood, isn't it?
Anyway, back to Emmy-winning Helmond. Here's another actressy bit when Jessica is accused of the murder of her young lover. Her husband promises her they'll get the best lawyer. "But what about that movie?!" she pleads confusing him, and she's off in her own world again. Instead of worrying about the trial she's worried about who will play her in the movie version she's certain they'll make.
Shelley Winters, for those of you who are only familiar, was briefly a starlet and then an Oscar bait actress but as early as the 60s she had moved into her late period blowsy mouthy dame mode. She wasn't exactly an emblem of "class" in the movies.
If you were ever on trial for murder, would you worry about who would play you in the movie?
*
*
Recently after an accidental couch potato binge on The Golden Girls -- you all know what that's like, right? -- I realized that the boyfriend had never seen the classic 70s sitcom Soap, which is from the same creative team, so we've been watching. The main character is rich dotty matriarch Jessica Tate (Katherine Helmond of Whos The Boss fame). She brings up movies and movie stars constantly. The fantasy of movies is a natural fit, since she doesn't have the firmest grasp of reality. She's basically a template for Rose on Golden Girls. Helmond, like White after her, has a very firm grasp of comic timing.
In this scene she wants to look through a family photo album because she believes they've all been cursed.
Jessica Tate: I think that in those pictures we'll find the answer. Mary did you see The Omen? Well, I mean nobody believed Lee Remick when she said that her son was the devil and he was trying to kill her and you know what happened? He killed her. And then, I mean, of course everyone said 'well, she was right' but it did her a lot of good, she was dead by then.Ha. It's much funnier with Helmond's loopy train of thought speed delivery.
Have you ever gotten into an entertainment mood that you couldn't quite shake? See I've been in this broad yuks mood for like a month now. It's not a normal mood for me. I think it started when I caught the Off Broadway Hitchcock spoof The 39 Steps a few months back which had a lot of inspired slapstick. Recently this mood was reignited watching Mel Brooks Silent Movie (1976) on BluRay (from this terrific box set that). Lets just say I hurt from laughing... especially during Bernadette Peters repeat vavavoom number. Her hip swivels just knock audiences right over. Literally.
The success of any comedy is so dependent on your mood, isn't it?
Anyway, back to Emmy-winning Helmond. Here's another actressy bit when Jessica is accused of the murder of her young lover. Her husband promises her they'll get the best lawyer. "But what about that movie?!" she pleads confusing him, and she's off in her own world again. Instead of worrying about the trial she's worried about who will play her in the movie version she's certain they'll make.
Jessica: Promise me that you'll try to maintain some control. Because I just have a feeling -- I just have this awful feeling that they're thinking of having Shelley Winters play me! See I was thinking of someone like Catherine Deneuve --she's attractive enough. Or it could make a wonderful musical. Barbra Streisand could play me.
*
*
Sunday, October 03, 2010
Links: "The 39 True Basterds Are All Right Network"
Warning: Teaser poster for True Grit bound to shame eventual actual poster with its gorgeous directness and simplicity. [Editor's Note: I've been in a very bad place/mood when it comes to movie posters lately. More on this soon.]
big screen
Scanners wonderful piece on the editing in Inglourious Basterds and what kind of choices Sally Menke was making.
Guardian I hadn't realized that The Kids Are All Right hadn't made it to the UK yet. But now that it's getting there: new articles! Lisa Cholodenko offers up an interesting theory about why women directors are few: It's not systemic sexism but based on what audiences value. big screen
Scanners wonderful piece on the editing in Inglourious Basterds and what kind of choices Sally Menke was making.
Cinema Blend an easter egg (we used to call them "inside jokes") in The Social Network for Fight Club fans.
Nick's Flick Picks has a brief encounter w/ none other than Roger Ebert
Our Stage the pop stars in big films this year
Boing Boing Yoda as Princess Leia. teehee
small screen
Deadline Wonder Woman via David E Kelley for television? There's a lot of snark in the comments on this post (I didn't know that Deadline had such conservative readership but I don't pay much attention to other sites... a problem when you have to run your own). My mind unwillingly flashed to Michelle Pfeiffer playing the Queen of the Amazons (previously played to camp perfection by Cloris Leachman in the 1970s tv show.)
Daily Beast 'Why I Loathe Glee'. A compelling argument about what's wrong with the series (and why it's going to get worse)
Movie | Line The 3 worst stereotypes on TV this week
Interview Naomi Campbell reminisces (lots of celebrities and history). Weird factoid: very few things remind Nathaniel of the early 90s more than "The Trinity": Naomi Campbell, Linda Evangelista and Christy Turlington.
REEAD I have no idea why this slide show arrived in my inbox under the heading "Is Madonna a religion?" but it just goes to show you that having a beautiful body can get you lots of page views... even if your headlines are misleading.
TCG Readers who are interested in theater might enjoy seeing which current plays are slated for the most regional production this coming year. I've been meaning to write about the Hitchcock spoof The 39 Steps forever. I guess I should. So many productions coming up.
Labels:
Glee,
Lisa Cholodenko,
marketing,
Naomi Campbell,
Roger Ebert,
television,
The 39 Steps,
True Grit,
Wonder Woman
Tuesday, September 21, 2010
MM@M: "The Beautiful Girls"
This week's episode of Mad Men "The Beautiful Girls" contained no movie references -- unless you count Faye calling Don "Mr Bond" (we think we heard that?) when he pried too much into her business with other ad agencies -- and a few celebrity name-droppings in a pitch meeting. What we did get is a lot of forward movement on Mad Men's quest to illustrate the 60s itself as a character. Vietnam is starting to scare these familiar faces and the burgeoning civil rights movement is starting to interfere with their perceptions of self.
Mad Men probably won't win any new fans with that bad neighborhood mugging scene, since they've already been criticized in some quarters for the (mostly) all-white cast. But Mad Men's focus has always been a very specific type of people, ad men in midtown, and the show is doing a beautiful job of reflecting how people actually deal with change. I love Peggy's initial dismissal when confronted with racism "I'm not a political person!" and the way this bled into her own ideas about sexism and then to actual guilt about her culpability in working for racist organizations. This strikes me as an honest and realistic depiction of the way that people actually deal with change. Usually people respond to things based on how and when they affect them or their loved ones personally or they put off dealing with it at all until the social tide swings far enough towards a new way of thinking that they have no choice but to either jump on board or refuse the tide of progress and become ultra conservative. You can see this in the way straight people deal with the gay rights movements and you can see this in how native citizens deal with immigration issues in their own country, wherever that country may be.
Hopefully Mad Men will give us a movie to discuss soon... but this season is just on fire.
Further reading for Mad Men fanatics:
*
Mad Men probably won't win any new fans with that bad neighborhood mugging scene, since they've already been criticized in some quarters for the (mostly) all-white cast. But Mad Men's focus has always been a very specific type of people, ad men in midtown, and the show is doing a beautiful job of reflecting how people actually deal with change. I love Peggy's initial dismissal when confronted with racism "I'm not a political person!" and the way this bled into her own ideas about sexism and then to actual guilt about her culpability in working for racist organizations. This strikes me as an honest and realistic depiction of the way that people actually deal with change. Usually people respond to things based on how and when they affect them or their loved ones personally or they put off dealing with it at all until the social tide swings far enough towards a new way of thinking that they have no choice but to either jump on board or refuse the tide of progress and become ultra conservative. You can see this in the way straight people deal with the gay rights movements and you can see this in how native citizens deal with immigration issues in their own country, wherever that country may be.
Further reading for Mad Men fanatics:
- all episodes of Mad Men at the Movies
- GIF - Sally Draper is the new boss of you
- Los Angeles Times interviews Cara Buono on playing Dr Faye Miller
- Times "Tuned In" on Peggy's women's rights march
- Movie|Line will Sally Draper get an Emmy nomination next year?
- p.s. i'm happy to take link suggestions for interesting articles if you have any in the comments.
*
Labels:
Mad Men,
Mad Men at the Movies,
politics,
television
Monday, September 13, 2010
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"
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.
*
*
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.
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.
*
*
Labels:
Mad Men,
Mad Men at the Movies,
Mia Farrow,
Peyton Place,
Ryan O'Neal,
television
Yes, No, Maybe So: Mildred Pierce (2011)
It's not intentional but today will be something of a TV day here at The Film Experience -- and to think how we were just bitching about all the false arguments in its favor -- and let's start with this trailer for the HBO Miniseries Mildred Pierce. [thanks to Sebastián for alerting me]
Like Angels in America seven years back, the director, cast and production values allow us to easily pretend that it's really just a feature film in disguise. It's just another part of The Great Convergence because what are today's franchises like Harry Potter and Twilight other than three season'ish long television series with bigger budgets?
YES I'll see anything -- and have seen everything -- that Todd Haynes directs. From subversive queer shorts like Dottie Gets Spanked to the inventive Superstar (the legally troubled Karen Carpenter bio with Barbie dolls) through to Oscar contending films like Far From Heaven and I'm Not There. His films never fail to excite the eyeballs, the intellect and hormones. Some people think he has trouble with the heart portion of entertainment, that his films are too heady, but to this complaint I say [insert expletive]. Even if that were true, better that problem than the far more common cinematic ailments of brainlessness, sexlessness and generic aesthetics.
NO I don't understand the casting of 23 year old Evan Rachel Wood as 34 year old Kate Winslet's nasty ungrateful daughter Veda at all. Aren't they too old and too young for their roles respectively, thus compounding the problem? Believable mother daughter chemistry won't be as important as usual since they're at odds, but still. Not sure I follow this. Plus, I've been aching for Evan Rachel Wood to get out of her bad girl rut. She has more range than this (or at least she once did).
MAYBE SO As much as I love Kate Winslet, performing in the shadow of Joan Crawford's signature role just seems so... foolhardy? It's one thing to star in an adaptation of a novel that's been adapted before. It's quite another to star in an adaptation of a novel that's been adapted before as an immortal and glamorous star's biggest hour.
I'm a yes given Kate + Todd + below the line players like DP Edward Lachman. Though I feel I should note that Todd's regular costume designer Sandy Powell did not work on this -- she told me her schedule conflicted when I interviewed her during the Young Victoria Oscar run.
My current plan: read the book in the next month or two so as not to be thinking of the gorgeous Michael Curtiz noir the whole way through.
You? Have you seen Joan Crawford's Oscar winning take on the Mildred Pierce role? If not, what are you waiting for?
*just guessin'
*
Like Angels in America seven years back, the director, cast and production values allow us to easily pretend that it's really just a feature film in disguise. It's just another part of The Great Convergence because what are today's franchises like Harry Potter and Twilight other than three season'ish long television series with bigger budgets?
YES I'll see anything -- and have seen everything -- that Todd Haynes directs. From subversive queer shorts like Dottie Gets Spanked to the inventive Superstar (the legally troubled Karen Carpenter bio with Barbie dolls) through to Oscar contending films like Far From Heaven and I'm Not There. His films never fail to excite the eyeballs, the intellect and hormones. Some people think he has trouble with the heart portion of entertainment, that his films are too heady, but to this complaint I say [insert expletive]. Even if that were true, better that problem than the far more common cinematic ailments of brainlessness, sexlessness and generic aesthetics.
MAYBE SO As much as I love Kate Winslet, performing in the shadow of Joan Crawford's signature role just seems so... foolhardy? It's one thing to star in an adaptation of a novel that's been adapted before. It's quite another to star in an adaptation of a novel that's been adapted before as an immortal and glamorous star's biggest hour.
I'm a yes given Kate + Todd + below the line players like DP Edward Lachman. Though I feel I should note that Todd's regular costume designer Sandy Powell did not work on this -- she told me her schedule conflicted when I interviewed her during the Young Victoria Oscar run.
My current plan: read the book in the next month or two so as not to be thinking of the gorgeous Michael Curtiz noir the whole way through.
You? Have you seen Joan Crawford's Oscar winning take on the Mildred Pierce role? If not, what are you waiting for?
*just guessin'
*
Thursday, September 09, 2010
TV vs. Movies
Did you read the recent NYT editorial "Are films bad, or is TV just better?". The article cites the obsessive fandom and acclaim for several great TV series and wonders why movies can't excite the public in the same way? There are a few interesting online responses to this perennial question. I love this history heavy emotional commitment focused piece at Observations on Film Art. And Movie|Line responded with some smart points beating me to the punch.

Well, it is a question. I don't know about good.
Comparing the best of one medium to the average to worst of another is always going to get you into trouble. It's a) unfair and b) dumb. The best of one artform will be better than the worst of another 100 times out of 100. But, what's more, the two mediums have a different set of artistic rules and should be judged separately. Yes, it's very exciting what's happening in the best of television these days. I wholeheartedly agree. I'm watching more television this year than I have in probably a decade. But what's happening in the best series is not happening to all of television anymore than the glorious build up and maintaining of tension in last year's Best Picture The Hurt Locker is true of all action movies and thrillers or that the quality of the 3D in Avatar extends to all movies released in 3D.
my 10 favorite current TV shows (alpha order): 30 Rock, Dexter, Friday Night Lights, Glee (guilty pleasure division), Mad Men, Modern Family, Nurse Jackie, RuPaul's Drag Race, True Blood and United States of Tara
My theory as to why this question keeps cropping up and why television is having a very good run boils down to the HBO model and a matter of accessibility, two things that the movies can't have and choose not to have, respectively. The HBO model of short seasons without reruns interrupting the initial run has finally begun to trickle down into the networks. Seasons are shorter insuring easier quality control, less creative burnout and a more cohesive longform narrative; the latter is what TV was always built to do brilliantly but which few shows used to capitalized on preferring half hour or one hour complete within themselves mini-movies (with notable exceptions like Buffy the Vampire Slayer). The accessibility issue is more complicated. TV is always going to be more popular than movies because it's easier to see and it's free (or charges on a subscription basis, which is easier to pretend you're not paying for ...and even then it's still way cheaper than going to the movies.)
So I'm confused as to why people suddenly think TV is more popular? Hasn't it always been? It's rarely been as respected but it's popularity has never been in question.
The question that people should be asking is so complicated that I don't even know where to begin. Plus, I can't pretend to have an answer. The right question to ask is not "why is TV better than the movies?" but maybe "Why do audiences get excited and obsess over critically acclaimed television but avoid so many critically acclaimed movies?"
I think that that's the question to be asking. Theoretically wouldn't the audiences for smart, creative and/or emotionally complex television shows also enjoy movies like The Hurt Locker and Winter's Bone and Julia and Bright Star and Inception and any number of foreign imports and even experimental or foreign festival sensations instead of going to see The Expendables or lining up for the latest superhero flick with everyone else? Why do people obsessively love Mad Men but complain if they see a movie where the characters are unlikeable? (Watch Mad Men for more than two episodes and you realize that there's not one character that's warm and fuzzy. No, not even Peggy.)
tiny box office / obsessive fan love
Why are they never cited in 'movies > tv' arguments whereas critical darling tv shows are cited, despite being midgets compared to almighty ratings champs like "Two and a Half Men"?
I'm assuming the complicated but as yet unrevealed answer involves economics. Movies cost way too much to make and market and are mysteriously not supported by advertising the way television is despite having the same amount of commercials. We've also got a broken distribution system which we've discussed to much already -- even if someone wants to see I Am Love they have to live in certain places in order to purchase it. Finally there's the very real issue of habit and conditioning. It's easier to give a television series you've heard is great a second chance even if you didn't like it the first time you watched than it is to buy a ticket to a movie you didn't "get" the first time after reading reviews proclaiming it to be a masterpiece. And that's just one example. But how would the movies get more accessible besides dropping prices which they should have done long ago?
And how would the audience get less suspicious of the unfamiliar? TV shows have an easier hurdle here in terms of original concepts getting play. They really do... though you wouldn't know this from the still ubiquitous three choice drama problem: do you want cops, doctors or lawyers? If a totally unique show has been on the air for a few seasons you get acclimated to it without even watching it (it's in the pop culture air). Eventually you might join in and catch up but movies only get one shot at your love and if you don't like the ad campaign the first time they're toast. They don't really stay "in the air" because they have such short windows of play and those windows aren't cyclical. If a TV show isn't cancelled it gets several years to convince you to watch it.
The good questions are complicated. Nobody seems to be asking them, preferring to compare apples to oranges and stating their apple preference. I'm an orange man myself though I absolutely enjoy fresh apples more than rotten oranges.
Who doesn't?
*
There’s something inherently flawed with that initial premise because Scott seems to be forgetting about plenty of recent, comparable movies; didn’t The Kids Are All Right address “modern families with the sharp humor and sly warmth of Modern Family,” only moreso? Isn’t there an apt comparison to be made between Inception and Lost, two twisty sci-fi genre amalgams that sparked fervent discussion and debate?I actually wrote up a piece on this very editorial before it was published and saved the draft. I can't find it right now. Argh. "How could you respond to something before it's published" you ask? Well, because this faulty argument is very familiar. In this years-old argument people cite absolutely brilliant TV series like Mad Men (or The Wire or The Sopranos in previous years) and other well loved series like Lost or Breaking Bad or Modern Family or outrageously popular ones like True Blood or Glee and then they begin gnashing their teeth and uttering things like "what's wrong with the movies?" after which they cite numerous lame studio releases as evidence that they've asked a good question.
Well, it is a question. I don't know about good.
Comparing the best of one medium to the average to worst of another is always going to get you into trouble. It's a) unfair and b) dumb. The best of one artform will be better than the worst of another 100 times out of 100. But, what's more, the two mediums have a different set of artistic rules and should be judged separately. Yes, it's very exciting what's happening in the best of television these days. I wholeheartedly agree. I'm watching more television this year than I have in probably a decade. But what's happening in the best series is not happening to all of television anymore than the glorious build up and maintaining of tension in last year's Best Picture The Hurt Locker is true of all action movies and thrillers or that the quality of the 3D in Avatar extends to all movies released in 3D.
My theory as to why this question keeps cropping up and why television is having a very good run boils down to the HBO model and a matter of accessibility, two things that the movies can't have and choose not to have, respectively. The HBO model of short seasons without reruns interrupting the initial run has finally begun to trickle down into the networks. Seasons are shorter insuring easier quality control, less creative burnout and a more cohesive longform narrative; the latter is what TV was always built to do brilliantly but which few shows used to capitalized on preferring half hour or one hour complete within themselves mini-movies (with notable exceptions like Buffy the Vampire Slayer). The accessibility issue is more complicated. TV is always going to be more popular than movies because it's easier to see and it's free (or charges on a subscription basis, which is easier to pretend you're not paying for ...and even then it's still way cheaper than going to the movies.)
So I'm confused as to why people suddenly think TV is more popular? Hasn't it always been? It's rarely been as respected but it's popularity has never been in question.
The question that people should be asking is so complicated that I don't even know where to begin. Plus, I can't pretend to have an answer. The right question to ask is not "why is TV better than the movies?" but maybe "Why do audiences get excited and obsess over critically acclaimed television but avoid so many critically acclaimed movies?"
I think that that's the question to be asking. Theoretically wouldn't the audiences for smart, creative and/or emotionally complex television shows also enjoy movies like The Hurt Locker and Winter's Bone and Julia and Bright Star and Inception and any number of foreign imports and even experimental or foreign festival sensations instead of going to see The Expendables or lining up for the latest superhero flick with everyone else? Why do people obsessively love Mad Men but complain if they see a movie where the characters are unlikeable? (Watch Mad Men for more than two episodes and you realize that there's not one character that's warm and fuzzy. No, not even Peggy.)
Why are they never cited in 'movies > tv' arguments whereas critical darling tv shows are cited, despite being midgets compared to almighty ratings champs like "Two and a Half Men"?
I'm assuming the complicated but as yet unrevealed answer involves economics. Movies cost way too much to make and market and are mysteriously not supported by advertising the way television is despite having the same amount of commercials. We've also got a broken distribution system which we've discussed to much already -- even if someone wants to see I Am Love they have to live in certain places in order to purchase it. Finally there's the very real issue of habit and conditioning. It's easier to give a television series you've heard is great a second chance even if you didn't like it the first time you watched than it is to buy a ticket to a movie you didn't "get" the first time after reading reviews proclaiming it to be a masterpiece. And that's just one example. But how would the movies get more accessible besides dropping prices which they should have done long ago?
And how would the audience get less suspicious of the unfamiliar? TV shows have an easier hurdle here in terms of original concepts getting play. They really do... though you wouldn't know this from the still ubiquitous three choice drama problem: do you want cops, doctors or lawyers? If a totally unique show has been on the air for a few seasons you get acclimated to it without even watching it (it's in the pop culture air). Eventually you might join in and catch up but movies only get one shot at your love and if you don't like the ad campaign the first time they're toast. They don't really stay "in the air" because they have such short windows of play and those windows aren't cyclical. If a TV show isn't cancelled it gets several years to convince you to watch it.
The good questions are complicated. Nobody seems to be asking them, preferring to compare apples to oranges and stating their apple preference. I'm an orange man myself though I absolutely enjoy fresh apples more than rotten oranges.
*
Monday, September 06, 2010
MM@M: No Bad Seats
Mad Men @ The Movies discusses the cinematic references in television's best series.
Peggy (Elisabeth Moss) and Don (Jon Hamm) succumb to exhaustion.
Four seasons of great acting will knock the wind right out of you.
Episode 4.7 "The Suitcase"
This week's episode was a well timed Peggy & Don duet. The historic backdrop was the infamous boxing match between Sonny Liston and Cassius Clay (Clay had already changed his name to Muhammad Ali but not everyone had acclimated to the switch. Interesting that Don in particular shows resistance to it given his own name change/reinvention). Given that context and the episode's actual content it might be more appropriate to call "The Suitcase" a well timed Peggy & Don brawl. By the end of the episode they'd put each other through ten rounds, with an actual brawl (albeit with Peggy watching rather than throwing punches). We'll call it a draw. Shockingly, they both had a good cry before the hour was out, and seemed both more vulnerable to the viewing audience and to each other; it was a brutal episode but it wound down with surprising tenderness. The two characters have so often been used as imperfect parallels and generational / gender distorted reflections of each other that moments where they come head to head like this are nearly always memorable. And a whole episode of it? I can't help but say it: "The Suitcase" was a knockout.
But, for our purposes at MM@M, it was a rare episode without any movie star / movie name dropping. The closest we came was a James Bond reference and the opening shot/scene when Harry Crane (Rich Sommer) passes out tickets to see the big match... on the big screen.
As for Harry's assertion that movie theaters have no bad seats... do you agree? I'd beg to differ as I hate the front row. I'm a middle/middle man, though lately I've taken a liking to aisle/middle/right. But anything's fine really so long as it's not the front row!
*
Four seasons of great acting will knock the wind right out of you.
Episode 4.7 "The Suitcase"
This week's episode was a well timed Peggy & Don duet. The historic backdrop was the infamous boxing match between Sonny Liston and Cassius Clay (Clay had already changed his name to Muhammad Ali but not everyone had acclimated to the switch. Interesting that Don in particular shows resistance to it given his own name change/reinvention). Given that context and the episode's actual content it might be more appropriate to call "The Suitcase" a well timed Peggy & Don brawl. By the end of the episode they'd put each other through ten rounds, with an actual brawl (albeit with Peggy watching rather than throwing punches). We'll call it a draw. Shockingly, they both had a good cry before the hour was out, and seemed both more vulnerable to the viewing audience and to each other; it was a brutal episode but it wound down with surprising tenderness. The two characters have so often been used as imperfect parallels and generational / gender distorted reflections of each other that moments where they come head to head like this are nearly always memorable. And a whole episode of it? I can't help but say it: "The Suitcase" was a knockout.
Ken: Where are these exactly?Those seats costs $15 which is quite a hefty price tag in 1965 (the hookers a few episodes ago cost $25). The SCDP team is seeing the match broadcast live at Loew's Capitol Theater in Times Square. The legendary theater once housed world premieres like Doctor Zhivago in 1965. After the last engagement in 1968, 2001: A Space Odyssey, the theater was demolished. Sadly movie theaters like that don't exist anywhere these days, really. It had over 5000 seats and a 25' by 60' screen.
Harry: It's a movie theater -- no bad seats.
As for Harry's assertion that movie theaters have no bad seats... do you agree? I'd beg to differ as I hate the front row. I'm a middle/middle man, though lately I've taken a liking to aisle/middle/right. But anything's fine really so long as it's not the front row!
*
Labels:
Mad Men,
Mad Men at the Movies,
moviegoing,
NYC,
sports,
television
Tuesday, August 31, 2010
MM@M: Charlie Chaplin and The Sad Clown.
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
Before we begin, a hearty congrats to Mad Men team for their third Emmy. Confetti thrown.
Episode 4.6 "Waldorf Stories"
In this episode, Don and Roger continue their downward spirals (it seems to be the long arc plot of Season 4) drinking way too much and imbibing too much awards show adulation (Don wins a Clio) or nostalgia (Roger continually reminisces). Meanwhile Peggy and Peter are on the rise, choosing pragmatism and hard work over their individual personal discomfort. The older characters tripping themselves up and the younger characters changing and rising is definitely the long arc of Season 4.
The only character chatting up the movies this week was Roger Sterling (John Slattery).
That Roger is talking about 1920s movies and wonders why aloud, is one clue that he's having difficulty focusing on work or even the present tense aka 1965. The flashback heavy nature of the episode, in which we suddenly realize that Joan & Roger go way way back (intriguing -- was she even working in the office yet?), is the other.
Best Moment
Peggy (Elisabeth Moss) strips off her clothes in a hotel room as challenge to her sexist faux-nudist co-worker. "I can work like this. Let's get liberated."
Finally, you have to love the choreography of the finale, which threads Don & Peggy's storylines together and also has a movie joke. Don lost his advertising award during his very own Lost Weekend. Here's his resigned banter with his secretary Miss Blankenship (Randee Heller, yes, that's The Karate Kid's mom).
But the staging is as funny as the joke.

Draper actually enters the office (blink and you'll miss him) during Peggy's story punchline in which she mocks her co-worker after their nude encounter (she's talking about a "little" change in the ad) but her hand gesture and the eyeline from art director Rizzo to her implicates Don Draper. He keeps getting emasculating this season.
Best Actress. Heh.
Other References in this Episode
(TV) Peyton Place, The Flintstones (Celebrities) The Pope, Red Skelton (Literature) A Tale of Two Cities, Noah's Ark, Playboy (Politics) The Daisy Ad, The Klu Klux Klan, The Temperance Movement
Of Note
Show creator Matthew Weiner on why his actors come up empty at the Emmys. This was recorded before Sunday night's awards in which all of the actors lost again.
Further reading
For diehard Mad Men fans who can't read enough.
Episode 4.6 "Waldorf Stories"
In this episode, Don and Roger continue their downward spirals (it seems to be the long arc plot of Season 4) drinking way too much and imbibing too much awards show adulation (Don wins a Clio) or nostalgia (Roger continually reminisces). Meanwhile Peggy and Peter are on the rise, choosing pragmatism and hard work over their individual personal discomfort. The older characters tripping themselves up and the younger characters changing and rising is definitely the long arc of Season 4.
The only character chatting up the movies this week was Roger Sterling (John Slattery).
Roger: Charlie Chaplin was very lonely. That Tramp -- too much of a sad sack. Laurel and Hardy - they're much better. Except Hardy was so mean to Laurel. I hated that.Oh Roger. Who exactly is the sad clown? Clue: It's not Chaplin though he was that, yes.
Why am I talking about silent movies?
Caroline (his secretary, taking dictation): I suppose as part of the chapter on your childhood?
Roger: That part of my book is getting bigger and bigger. Why is that?
That Roger is talking about 1920s movies and wonders why aloud, is one clue that he's having difficulty focusing on work or even the present tense aka 1965. The flashback heavy nature of the episode, in which we suddenly realize that Joan & Roger go way way back (intriguing -- was she even working in the office yet?), is the other.
Best Moment
Peggy (Elisabeth Moss) strips off her clothes in a hotel room as challenge to her sexist faux-nudist co-worker. "I can work like this. Let's get liberated."
Finally, you have to love the choreography of the finale, which threads Don & Peggy's storylines together and also has a movie joke. Don lost his advertising award during his very own Lost Weekend. Here's his resigned banter with his secretary Miss Blankenship (Randee Heller, yes, that's The Karate Kid's mom).
Draper: Call the Pen and Pencil and see if someone found my award.Ha! Don hates her so much.
Blankenship: What's the category?
Draper: Best Actress.
But the staging is as funny as the joke.
Draper actually enters the office (blink and you'll miss him) during Peggy's story punchline in which she mocks her co-worker after their nude encounter (she's talking about a "little" change in the ad) but her hand gesture and the eyeline from art director Rizzo to her implicates Don Draper. He keeps getting emasculating this season.
Best Actress. Heh.
Other References in this Episode
(TV) Peyton Place, The Flintstones (Celebrities) The Pope, Red Skelton (Literature) A Tale of Two Cities, Noah's Ark, Playboy (Politics) The Daisy Ad, The Klu Klux Klan, The Temperance Movement
Of Note
Show creator Matthew Weiner on why his actors come up empty at the Emmys. This was recorded before Sunday night's awards in which all of the actors lost again.
Further reading
For diehard Mad Men fans who can't read enough.
- Shitty First Drafts "Why Betty Draper Matters" This is a smart read about housewives in the 1960s. I'm within the small minority who is fascinated (even when appalled) by the former Mrs. Don Draper so I heartily approve.
- Tom & Lorenzo The cast on the cover of Rolling Stone.
- Rolling Stone a beauteous on set photo gallery from Rolling Stone.
- Antenna The waning value of masculine detachment.
- Fast Company actors as spokespersons for brands blurs MM's boundaries
- Antenna "You're Not Going to Kill This Account" on actual and revisionist history alike.
- Scanners "...From Twin Peaks" a must read for David Lynch fans.
- TV Guide Sal will be coming back to the show in some way (!) Cameo or otherwise?
- Norsk Film Institute Mad Men at the Movies gets its own screening series in Norway. Unfortunately I am not thanked, involved, or flown over for it. Jeg gråter.
Monday, August 23, 2010
MM@M: Look Like Hayley Mills. Feel The Man From U.N.C.L.E.
Mad Men @ the Movies investigates cinema references... a fancy excuse to talk about tv's best series.
Episode 4.5 "The Chrysanthemum and the Sword"
In this episode SCDP attempts to win the Honda campaign but Sterling still hates the Japanese from his WWII days. Meanwhile, it's Draper Vs. Draper again as Don (Jon Hamm) and Betty (January Jones returns.) hurl hate at each other. Tween daughter Sally tries to tune them out by misbehaving i.e. engaging in perfectly normal behavior like masturbating. Uh oh! In one sequence Sally cuts her own hair, sending her babysitter and her father into hysterics.

Heaven to hear 60s child star Hayley Mills (a personal fav) referenced on Mad Men. Hayley is best remembered today for the back-to-back family friendly classics Pollyanna (1960) and The Parent Trap (1961). She was actually the last actor to win the Academy's intermittently awarded Juvenile Award (you know the one-- the only Oscar Judy Garland ever got. Grrrr.) Mills would have most definitely been an idol for Sally's generation.
The previous summer moviegoers had enjoyed Hayley in The Moon Spinners (64) and she had two films in theaters for 65: Disney's That Darn Cat (pictured up top) and The Truth About Spring. This episode takes place in 1965 which happened to be the last year Mills could be referred to as a teenager...
She was exiting adolescence just as Sally was entering it. In 1966 she actually played a young married woman in The Family Way.
Nevertheless, for the family friendly Hayley memories this particular episode conjures, the pop culture reference that leads to the most adult-specific hysteria is not from the movies but from the small screen. Sally watches television's The Man From U.N.C.L.E. (from its debut season '64-'65) while at a sleepover (her friend is already asleep). In the scene, David McAllum is tied to a chair, and his masculine pheromones are doing a hormonal whammy on confused Sally. (Or maybe Sally's just going to be into bondage as an adult.)

Further reading?
In case you can't get enough Mad Men the morning after...

Episode 4.5 "The Chrysanthemum and the Sword"
In this episode SCDP attempts to win the Honda campaign but Sterling still hates the Japanese from his WWII days. Meanwhile, it's Draper Vs. Draper again as Don (Jon Hamm) and Betty (January Jones returns.) hurl hate at each other. Tween daughter Sally tries to tune them out by misbehaving i.e. engaging in perfectly normal behavior like masturbating. Uh oh! In one sequence Sally cuts her own hair, sending her babysitter and her father into hysterics.
Don: Why would she do that?
Babysitter: She probably wanted to look older or like Hayley Mills. I don't know."
The previous summer moviegoers had enjoyed Hayley in The Moon Spinners (64) and she had two films in theaters for 65: Disney's That Darn Cat (pictured up top) and The Truth About Spring. This episode takes place in 1965 which happened to be the last year Mills could be referred to as a teenager...
She was exiting adolescence just as Sally was entering it. In 1966 she actually played a young married woman in The Family Way.
Nevertheless, for the family friendly Hayley memories this particular episode conjures, the pop culture reference that leads to the most adult-specific hysteria is not from the movies but from the small screen. Sally watches television's The Man From U.N.C.L.E. (from its debut season '64-'65) while at a sleepover (her friend is already asleep). In the scene, David McAllum is tied to a chair, and his masculine pheromones are doing a hormonal whammy on confused Sally. (Or maybe Sally's just going to be into bondage as an adult.)
Further reading?
In case you can't get enough Mad Men the morning after...
- The Medium and the Message an ad man on what our obsession with the series means and the penetration of message in advertising.
- Esquire War of the Sweaters. Knitwear as counter culture?
- GIF Party Peggy on a Honda. Vroom.
- Who is Dr. Lyle Evans? Yes there was a spike on Google.
- Basket of Kisses on the same question.
- Basket of Kisses on Miss Blankenship's Crossword Puzzle
Monday, August 16, 2010
MM@M: Jean "Peggy" Seberg
Mad Men at the Movies In this series we discuss the film references on Mad Men. And now for Season 4 we're also discussing the show in general. Previously: Live From Times Square, 60s Box Office Queens, Catherine Deneuve and...Gamera?
Episode 4.4 "The Rejected"
In this episode Pete Campbell (Vincent Kartheiser) faces both personal joy and career drama and combines them in cunning fashion. He sure is a 'high WASP'. Don's secretary Alison gets a smashingly played exit scene (goodbye Alexa Alemanni. We hardly knew ye. But we liked what we knew. Pssst Mad Men will work wonders on your reel. You were great.) And Peggy attends an underground party winning both male and female attention. Plus, Ken Cosgrove returns (yay!).
Right before Ken's name surfaces, Pete and Harry are arguing about the printing of a newspaper ad.
Though Seberg is most remembered for the French Breathless today and made other foreign films, she was an American actress (born in Iowa) and made many movies at home, too. She was not only a fashion icon but a political activist of some notoreity (hence an interesting if tossed off reference name ... since we know much political turmoil is coming as this show explores the 1960s). She died at only 40 in Paris from an overdose.

In early 1965, concurrent with this episode, Seberg was a Golden Globe nominee for Lilith (1964), a film about a woman in a mental institution. (Maybe both Jean Seberg and Lilith would've related to Mad Men's frustrated women?) The AMPAS voters passed Seberg over for a nomination but she wasn't the only snub. The Oscar lineup (as follows) was actually composed mostly of the Globe comedy nominees (that doesn't happen anymore) with only the Drama winner making the cut.
Favorite Moment
Revisiting Kenny & Pete's rivalry. Pete apologizes for gossiping and then tells Kenny he's going to be a father. After Pete's weak olive branch, Ken offers a delicious stealth-bitchy compliment: "Another Campbell. That's just what the world needs."
Best Intangible Something
Every single thing about the centerpiece sequence worked superbly. A group of women are corralled by Joan (not invited due to being "old and married") to be focused tested about beauty regimens while Don & Peggy watch from behind glass. The repercussions ends up rippling through the office, violently. The multi-scene sequence is all composed of people looking at each other from a glassed off protected distance whether comical (Peggy spying on Don) or dramatic (Don wincing at Allison's tears) or through doorways. It's full of entrances and exits (almost like bedroom farce) with everyone carrying their painfully open baggage into each room and when they exit, they've left articles behind. Amazing.
Best (Shouted) Exchange
Peggy (Elisabeth Moss) rejecting a lesbian advance from Joyce (Zosia Mamet) at a party.
Best (Silent) Exchange
Peggy and Pete, former lovers, saying their goodbyes (through glass again). For a show that's so often about inchoate feelings it sure is emotionally acute.
Further reading?
I like to read a wide range of reaction to movies and tv, don't you?
Episode 4.4 "The Rejected"
In this episode Pete Campbell (Vincent Kartheiser) faces both personal joy and career drama and combines them in cunning fashion. He sure is a 'high WASP'. Don's secretary Alison gets a smashingly played exit scene (goodbye Alexa Alemanni. We hardly knew ye. But we liked what we knew. Pssst Mad Men will work wonders on your reel. You were great.) And Peggy attends an underground party winning both male and female attention. Plus, Ken Cosgrove returns (yay!).
Pete: I don't care if she looks like a Puerto Rican. Puerto Rican girls buy brassieres.Jean Seberg wore that famous striped shirt in Breathless (pictured above) which hit US screens in 1961, four years before this episode takes place. The Jean Luc Godard film became one of the most iconic films in the French New Wave, a film movement which had already peaked by 65 but had definitely affected New York culture.
Harry: Not that they need to. I saw this one on the subway in one of those striped Jean Seberg shirts, red rag in her hair. Nipples.
Pete: I'm not in the mood.
Though Seberg is most remembered for the French Breathless today and made other foreign films, she was an American actress (born in Iowa) and made many movies at home, too. She was not only a fashion icon but a political activist of some notoreity (hence an interesting if tossed off reference name ... since we know much political turmoil is coming as this show explores the 1960s). She died at only 40 in Paris from an overdose.
In early 1965, concurrent with this episode, Seberg was a Golden Globe nominee for Lilith (1964), a film about a woman in a mental institution. (Maybe both Jean Seberg and Lilith would've related to Mad Men's frustrated women?) The AMPAS voters passed Seberg over for a nomination but she wasn't the only snub. The Oscar lineup (as follows) was actually composed mostly of the Globe comedy nominees (that doesn't happen anymore) with only the Drama winner making the cut.
- Julie Andrews, Mary Poppins (Globe winner, Comedy)
- Anne Bancroft, The Pumpkin Eater (Globe winner, Drama)
- Sophia Loren, Marriage Italian-Style (Globe nominee, Comedy)
- Debbie Reynolds, The Unsinkable Molly Brown (Globe nominee, Comedy)
- Kim Stanley, Seance on a Wet Afternoon
Favorite Moment
Revisiting Kenny & Pete's rivalry. Pete apologizes for gossiping and then tells Kenny he's going to be a father. After Pete's weak olive branch, Ken offers a delicious stealth-bitchy compliment: "Another Campbell. That's just what the world needs."
Best Intangible Something
Every single thing about the centerpiece sequence worked superbly. A group of women are corralled by Joan (not invited due to being "old and married") to be focused tested about beauty regimens while Don & Peggy watch from behind glass. The repercussions ends up rippling through the office, violently. The multi-scene sequence is all composed of people looking at each other from a glassed off protected distance whether comical (Peggy spying on Don) or dramatic (Don wincing at Allison's tears) or through doorways. It's full of entrances and exits (almost like bedroom farce) with everyone carrying their painfully open baggage into each room and when they exit, they've left articles behind. Amazing.
Peggy (Elisabeth Moss) rejecting a lesbian advance from Joyce (Zosia Mamet) at a party.
Peggy: I HAVE A BOYFRIENDPlease note that Peggy is wearing a not un-Seberg like striped shirt for this sequence. Mad Men is nothing if not self reflective.
Joyce: HE DOESN'T OWN YOUR VAGINA.
Peggy: NO, BUT HE'S RENTING IT.
Best (Silent) Exchange
Peggy and Pete, former lovers, saying their goodbyes (through glass again). For a show that's so often about inchoate feelings it sure is emotionally acute.
Further reading?
I like to read a wide range of reaction to movies and tv, don't you?
- Lylee's Blog "I can't fix anything else" on last week's episode but I think it's insightful.
- Parabasis great piece on Peggy rising and Don descending in the mid 60s.
- GIF Party & GIF Party. Two funny Elisabeth Moss bits. For all her personal troubles (Peggy's not Moss's) one sometimes senses that Peggy is the one character that's going to be all right. Don Draper on the other hand...
- HitFix has a thorough recap with detailed end notes.
- Atlantic Peggy's brush with the mid sixties and the episode's comic tone
- The New Republic on the "effortless" feel of the episode, and lessons for series television in general
- Cinema Talk on Jean Seberg and Lilith
- Film Quarterly Seberg and notes on women and depression
- Vulture John Slattery on directing his first episode.
- The Bastard Machine on all the rejection in this episode. Aptly titled.
- Antenna Mad Men's female fashion and the mise-en-scène in this episode.
Subscribe to:
Comments (Atom)