My mrgolightly blog may have been terminated by the tumblr staffholes, but like a gay phoenix rising from the ashes, I’m back, and I’m glad that I was able to find and refollow the majority of my faves. I’ve been following a lot of you for years and you’re all fabulous. Feliz Navidad, bitches.
due to getting asked somewhat regularly, I decided to make a list of many of my favorite blogs. they consist of film, television, music, art, and occasionally personal in varying degrees. most of them are far more articulate and knowledgable than I am and very much inform a lot of what u see on my blog. although I can’t attest to interacting or knowing them all as well as I’d like to, I think it’s fair to say that they’re all cool and interesting people and it is within ur best interest to check them out
For our second entry in the “Flixwise Favorites: Female Filmmaker” series, oldfilmsflicker is going to try to convince salesonfilm and Lady P that Gillian Armstrong’s 1994 feature, LITTLE WOMEN, is worthy of the canon.
Topics include: the film’s faithful rendering of Alcott’s original text, the gorgeous set and costume design, the ageless beauty of Susan Sarandon, stupid Amy and her stupid limes, and of course, the issue currently dividing our nation: Laurie vs. Professor Bhaer.
For more Female Filmmaker action check these links:
The baby boomers were perhaps the first generation in history where being cool was a legitimate cultural goal. Coolness, youth, and counterculture were all the rage when Nick (Jim Broadbent) met and married Meg (Lindsay Duncan). The British couple, now in their sixties and celebrating their 30th wedding anniversary, try to rekindle some of that youthful adventure with a weekend trip to Paris, where they spent their honeymoon so many happy years before.
Le Week-End marks the fourth collaboration between writer Hanif Kureishi and director Roger Michell, and it mines similar territory as their earlier films The Mother (2003) and Venus (2006), which also dealt with the challenges of late-middle/old age. Like these films, Le Week-End is a deceptively provocative and complex portrait of people who vacillate between love and hate, good and bad, weak and strong–sometimes within the same moment.
We have officially made it through the Top 50 of the Sight and Sound Greatest Films of All Time list! Let’s all pat ourselves on the back and celebrate a job partially done. In all seriousness, this a proud moment for our show and we’re excited to mark the occasion. Let us continue our commemoration of getting a 5th of the way through this seemingly endless list by raising a glass to one of Hollywood’s most enduring and tenacious screen icons, Bette Davis.
Today’s show is the second in our three-part Bette Davis marathon: All About Bette. In our first entry, we discussed Davis’s career-defining turn in Joseph Mankiewicz’s All About Eve (1950). This time we’re tackling a less-widely seen Davis film, the 1941 adaptation of Lillian Hellman’s play,The Little Foxes (1941). Lady P is joined once again by @salesonfilm and @therealannekelly to talk about why The Little Foxes deserves greater recognition among Bette’s filmography.
Talking points include Davis’s relationship with the film’s director, William Wyler, and the deep-focus cinematography courtesy of Director of Photography, Gregg Toland (which inevitably leads to comparisons with Citizen Kane). They also attempt to put the film in historical context and talk about why 1940s Hollywood was so into making turn-of-the-century family dramas (see also Meet Me in St. Louis and The Magnificent Ambersons). Finally, they decide whether or not The Little Foxes is worthy of the Flixwise Favorites list.