In Case You Missed It: The Light Between Oceans Official International Trailer #1 (2016) - Mich...

I just stumbled on the official trailer for a little film entitled The Light Between Oceans. A huge thank you to the Movieclips Trailers YouTube page for their continued awesomeness. Definitely check them out.

I know very little about this film. However, upon watching the trailer, I can say that combination of Michael Fassbender, Alicia Vikander and Rachel Weisz makes it smell like an Academy Award acting nomination waiting to happen.

Tentative release dates have this film being released September 2016 in the US, France and Russia while the UK will see it in January 2017.  

Musicians You Aren’t Listening To, But Should Be: Jack Savoretti

Before I continue with this blog entry, I wanted to apologize for the pitiful posting volume this week...stupid day job. The problems will hopefully be remedied this weekend, as I’m looking forward to a  blog writing spree  Anywhoo... back to the topic at hand.

This week’s (delayed) "Musicians You Aren’t Listening To, But Should Be" focuses on a new discovery of mine (thanks to this week's Graham Norton Show rerun), Jack Savoretti.

While he's a very recent discovery of mine, the U.K. based singer has been around for a while. His most recent album, Written in Scars, is his fourth release. His albums according to iTunes are: Between the Minds (2007), Harder Than Easy (2009), Before the Storm (2012) and Written in Scars (2015). I’ve been working my way through his discography, really enjoying everything I’ve heard so far. I’m falling hard onto this bandwagon. So, silly me, late to the party once again.

With the acoustic guitar, the song-writing and the natural sound, the greatest comparison I can make is to say that if you like Ed Sheeran, you’ll likely enjoy Savoretti’s work. It’s simple, and often powerful, acoustic heavy songs, which are largely free of intricate and complicated studio set-ups. Instead the power of the song, and the vocal talent of the performer is put on display.

Savoretti's vocals have a raw quality to them. Listen to a song like Catapult, it's a great example of the unique sound of . Possessing the raw power he does, Savoretti could easily cross into a heavier form of rock and roll. He leans toward a softer sound though (I would classify the music as fold with pop-ish tendencies), and uses his voice brilliantly to emote within the song. Check out Savoretti’s Vevo on YouTube to see and hear more of his work.

Bringing the fangirling to a close, Jack Savoretti is one of my new favorites. His song writing style is relaxed, and catchy. As I mentioned earlier, if you are a fan of songwriters a la Ed Sheehan, you should definitely take a look at the work of Jack Savoretti. After discovering his work, he’s definitely one I’m going to keep an eye on. I can’t wait to see how his career develops.

In Case You Missed It: Marvel’s Daredevil - Season 2 - Official Trailer

When Daredevil’s trailer dropped last week,  it was discovered that this was the first of a two part trailer release for season two of the popular and critically acclaimed Marvel (in association with Netflix) superhero series.



Feast your eyes on part 2...



Thoughts?



(Thanks to Netflix for posting the trailer).

This Was a Thing: "Kookie, Kookie, Lend Me Your Comb"

I won’t lie, I absolutely love this little gem of a pop culture era gone by.  The clip, which comes from 1959, features Connie Stevens and Edd Byrnes singing “Kookie, Kookie Lend Me Your Comb.” The song is best remembered by contemporary audience on novelty 1950s albums, or on radio stations (okay... iTunes channels) that play songs like Purple People Eater, and Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini.

‘Kookie’ is a direct reference to Byrnes character on the hit series 77 Sunset Strip, which ran on ABC from 1958 until 1964.

The blatant lip-syncing, Byrnes shameless mugging for the camera, and Steven’s giddy (or is that nervous) body language all combine to paint a picture of how teenage culture was perceived in the close of the 1950s. This clip coincides to the period when television shows began marketing themselves to teenagers through ‘rock and roll’ songs. Two of the best known examples are Ricky Nelson’s work on The Adventures of Ozzie and Harriet and Shelley Fabares work on The Donna Reed Show.  

Fans of this era in music should check out the NRRA YouTube page, there’s a collection of amazing, rare music numbers. 

Digging into the TV Archives: Pushing Daisies

 I feel really guilty about Pushing Daisies.  The innovative comedy series ran on ABC off and on from 2007 through 2009. The narrative revolved around Ned or “The Pie Maker” (the amazing Lee Pace), a man who’s touch could bring dead things back to life (a bit high concept, I know).  However, because rules like these must exist on television, upon bringing something to life, he can not touch it again, or it will die, this time for good.

Ned is surrounded by a colorful (literally-- just look at that insanely awesome production design) cast of characters: private investigator Emerson Cod (Chi McBride), Olive Snook (Tony Award winner Kristen Chenoweth) and Charlotte “Chuck” Charles (Anna Friel). Ned works with Cod (at first, the only person who knows his secret) to solve murders. And when Ned is faced with the murder of Chuck (his boyhood crush), one of the most agonizingly cute “will they or won’t they” relationships in television history begins. Upon finally getting back into contact with ‘the girl named Chuck’ of his childhood, Ned refuses to touch her (and render her dead once again). However, this plunges the show into the unenviable task of having to sustain a romantic relationship between two leads who can’t touch each other without one of them dying. However, due to Pace and Friel’s undeniable cuteness, it totally works!

Now, I said I feel guilty. This show was insanely amazing, but due to its incredibly complex concept, had a ridiculously hard time getting ratings. In a contemporary television climate with dozens of cable offerings, and Netflix and Hulu running unique and interesting content, Pushing Daisies might have had a shot. Even 8 years ago, the show was far more restricted in terms of outlets. Not saying if I had watched it, it would have saved it, but a girl can dream.

I jumped into the show two years ago after discovering the awesomeness that is Lee Pace in the AMC drama Halt and Catch Fire. In classic fangirl fashion, I had to catch myself up on the full extent of his career... because that’s what you do! If he looks familiar, but you just can’t place the face, I submit the following pieces of evidence.

or...

Pace played Thranduil in the Hobbit franchise (and was one of the better parts of the franchise in the opinion of this humble writer), and was almost completely unrecognizable as Ronan the Destroyer in Guardians of the Galaxy. As he has matured as an actor, Pace has transitioned from the almost school boy parts he started out playing (just looking at Ned makes you wanna say ‘Awe Schucks!’), into deeper, and more complex roles like the parts mentioned above. He’s also incredible to watch as Joe MacMillan in the critically acclaimed AMC drama, Halt and Catch Fire.

The show comes from the mind of Bryan Fuller, the visionary show runner of such critically acclaimed (but ratings challenged) series like: Hannibal, Wonderfalls, and Dead Like Me. Fuller is quite literally a creative breath of fresh air. The aesthetic of his various shows are rich and unique, ranging from the rich and lurid color palate of Pushing Daisies, to the more muted, but highly stylized look of Hannibal. Not the best example shown below... for more vivid examples, see any of the crime series murder scenes.

Fuller is a creative genius, whose talent has unfortunately been slow to catch with mainstream television audiences. His shows have so far had fairly short runs, which Hannibal’s three seasons making it the most popular Bryan Fuller show on television. It was announced earlier this month that Fuller had been signed to helm a new Star Trek series, which is slated to begin airing in 2017. This writer waits with baited breath for details to emerge about the upcoming show.

Pushing Daisies is a complex and complicated show, which manages to be a comedy, drama, musical, fantasy and crime series. There really is something there for everyone, and if you haven’t checked out the two season show, I highly recommend it. Both seasons are available on DVD.

Fangirl Friday: Colin Donnell

Actor, singer and all-around awesomely awesome performer Colin Donnell is in the process of a long in coming, but well-deserved break-out. Donnell is currently enjoying a weekly gig on NBC’s freshman medical drama Chicago Med. However, he is probably best known for his role as Tommy Merlyn on the first season of Arrow, the CW’s crazily popular superhero drama. It was on Arrow where I first put a name to the face I had been seeing since his musical theater days.

AsDonnell fell into form on Arrow, Tommy developed into a truly interesting character in his own right. I YouTubed the young actor, and quickly discovered that I had seen him before. As I confessed in Wednesday’s blog entry... I’m a huge musical theater nerd. There were backyard performances of Les Miserables... but I digress... Prior to his break-out in Arrow, Donnell was a seasoned musical theater performer, having previously been on Broadway starring as Billy Crocker opposite the amazing Sutton Foster (now on TVLand’s Younger) in the popular and critically acclaimed revival of Anything Goes. (See below for a clip of Donnell and co-star Laura Osnes singing DeLovely). According to his page on the Internet Broadway Database, Donnell was nominated for a Tony for his work on Anything Goes. From the few clips existing of his stage work, it is clear that he possesses an incredible charisma as a performer, which comes across clearly, even in the unforgiving environment of live theater.

When Arrow premiered in 2012, we all watched with great interest to see where this new superhero show (outside of the treasured Marvel branding) would go. At the outset, the character of Tommy Merlyn is fairly generic (if not a tad cliche). He’s the spoiled, rich best friend of the hero. He’s the Harry Osbourne to Stephen Amell’s Peter Parker. As the first season went on, Tommy developed as a character by leaps and bounds as the narrative arch between he and Oliver changed and was further complicated by Tommy’s knowledge of Oliver’s vigilante persona. Donnell thrived as Tommy was allowed to evolve, playing the role with a feeling of hurt and betrayal, rather than simply anger. There is a sense of vulnerability which allows the audience to identify with him, rather than simply vilifying Tommy as the character standing in opposition to the show’s hero.

I can speak to this personally. With, Tommy's eventual fate, the show’s writers ripped out my little fangirl feels and stomped them into teeny tiny pieces on the writers room floor. On the day the episode aired, I had just finished an Arrow spec script (essentially fan-fiction... in script form) where
Tommy played an important role, and became the Dark Archer by the end of Act Five. I was proud. I flipped onto social media, the night before the episode, “Wait... they did what to Tommy?”... Yes, I shipped Tommy and Laurel. What of it?

Since his run on Arrow, Donnell has seen his career rise exponentially. He moved on to the critically acclaimed Showtime drama The Affair, and then in 2015 he was signed onto Chicago Med, continuing the development of a character he played in two episodes of the NBC drama Chicago Fire. He’s definitely an actor to watch; hopefully, he has nothing but bigger and better things to come.

*Check out the respective pages for the YouTube users posting the above videos. I give them all the credit in the world.*

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Musicians You’re Not Listening To, But You Should Be: The Sheytoons

Well, this one is a bit of a tricky one. Unfortunately, the Sheytoons have yet to release an album. (I know... I’m going very underground this time).  The quick intro... The Sheytoons are called an ‘indie folk’ band by sources in the know on the inter webs. The group is fronted by musical theater superstars Ramin Karimloo and Hadley Fraser. Between the two of them, they have played almost every male role in Les Miserables and The Phantom of the Opera. While I haven’t been able to show it much in this blog (yet... insert evil cackle), I’m also a shameless theater nerd. While I have no acting or singing talent to speak of, I’m a sucker for a performer who can belt out a song... but I digress... back to the topic at hand. 

My discovery of The Sheytoons happened back in 2010 when Karimloo and Fraser both appeared in the 25th Anniversary cast of Les Miserables as Enjolras and Grantaire respectively. They were then quickly cast as the Phantom and Raoul in the 25th Anniversary cast of The Phantom of the Opera (how can I forget the crazily talented Sierra Boggess as Christine). A quick Google, and a YouTube later... and voila! (I say that a lot lately....). The Sheytoons appear to have been formed primarily as a labor of love, which unfortunately keeps getting pushed to the metaphorical back-burner by their members' constant (and grueling) musical theater schedules.

(Clip: Hadley Fraser singing: Again. Part of his solo repertoire).

In 2015, Karimloo wrapped a lengthy run in Les Miserables on Broadway, and has been continually appearing on stage, as well as on television (there’s reportedly a Blue Blood’s appearance I need to find now). Meanwhile, Fraser has been working steadily in London’s West End, easily making the dizzying jump between Shakespeare to musicals with seeming ease. Readers of this blog may be familiar with Tom Hiddleston’s version of Coriolanus? Fraser is featured in the cast as Aufidius. He has also been poking his toe into the film world, with recent (though bit) parts in the film version of Les Miserables as well as the upcoming Legend of Tarzan.

(Clip: Ramin Karimloo singing ‘The Music of the Night’ from The Phantom of the Opera).

Precious little exists in recorded form as it relates to The Sheytoons. There’s a handful of YouTube clips, and Karimloo has covered some of the material in his solo albums. Broken (video included above) is probably my favorite song, and it demonstrates the unique and innovative sound of the group’s music (I love the use of the banjo). All their available work has a very sound, and interesting acoustic structure, and thanks to their musical theater backgrounds, the vocals are flawless. Whether you are an indie or folk music fan, and would check out what exists from the Sheytoons, or are simply a musical theater nut, you should be familiar with Hadley Fraser and Ramin Karimloo. They are two of the most talented performers working on Broadway and the West End right now. (Thanks to all the users who uploaded the YouTube clips above... click on the videos and check out their pages). 

So This is a Thing: Kindergarten Cop 2 | official trailer US (2016)

So... I just discovered this (which just dropped today). Apparently, it’s a straight to DVD release (don’t think I’m surprised). I’m not going to say much beyond... so that’s why Dolph Lindgren has been out and about lately. So, I’m just going to set this here, and run away.

Most will know, the original Kindergarten Cop was released in 1990 and starred Arnold Schwarzenegger and Penelope Ann Miller.

If You Haven’t Seen It: Bastille Day - official trailer

I like to consider myself fairly in-the-know on the movies, and Bastille Day snuck passed me. After doing a bit of reading, the term ‘Development hell’ comes to mind. However, I choose to post this (and fangirl shamelessly) on the caliber of the two leads. Richard Madden and Idris Elba can do absolutely no wrong in my book.

This looks like your fairly standard action thriller, in the Luc Besson-ey, Transporter style.

From a viewing of the first trailer, there look to be solid action sequence, and there’s sure to be good performances from the lead actors.

Thoughts?

Spotlight: A Contemporary Classic

When the Best Picture nominees came out, I had to familiarize myself with Spotlight, a little film (with a huge cast) that seemingly emerged from nowhere during awards season. The narrative, which follows a team of Boston Globe reporters hot on the case of the Catholic Church sex scandal, is nominated for six Academy Awards, including: Best Picture, Best Supporting Actor, Best Supporting Actress, Best Director, Best Editing and Best Original Screenplay. At the time of publishing, this writer had seen half of the Best Picture nominees (and was quickly trying to crank through the other half), and I can easily say that Spotlight has just bumped Brooklyn as my personal choice to win Best Picture... predictions are a different matter that’s still The Revenant.

‘All the President’s Men'

Almost immediately, I found myself drawing parallels between Spotlight and the feature which still stands as the standard for all crusading, muck-raking journalism films, All the President’s Men (Alan J. Pakula, 1976). Visually, the two movies share a number of similarities. Showing newspaper print journalism in its' most traditional form, Spotlight's primary set piece is the Boston Globe newsroom, which bears striking resemblance to the Washington Post newsroom where the earlier film was set. The stacks of documents, the open cubicles and the harsh florescent lighting in Spotlight all show journalism in its' most idealized sense. The reporters comb through library stacks, they do battle with the court system over sealed records, and go out into Boston to interview the victims, incredibly reminiscent of what Woodward and Bernstein go through in to crack the Watergate scandal in All the President’s Men. This is old-fashioned print journalism at its’ finest.

The city of Boston is very much a character in Spotlight. The script by Josh Singer and Tom McCarthy is packed with emotional and powerful writing about the relationship between class and religion in the neighborhoods surrounding Boston. In a number of the victim interviews, the characters emphasize the difficulty in speaking about the Church’s abuse, due to the important role religion plays in the city’s poorer communities. The large amount of time the script spends following the newspaper reporters (usually door to door) through Boston’s suburbs plays a vital role in further developing the conflicted and layered relationship between the Catholic Church, the law, the news media, and most importantly the people of Boston.

The performances by the large (and A-list) ensemble are solid. Michael Keaton (2015’s Best Actor winner), Mark Ruffalo (Best Supporting Actor nominee), and Rachel McAdams (Best Supporting Actress nominee) are all tremendously on point. John Slattery is his typical delightful self, as is Stanley Tucci. Upon watching the film, I was floored that there wasn’t more attention paid to Liev Schreiber’s portrayal of Martin Baron. Schreiber is an unsung presence in the film, giving a layered, but understated performance. As a newly arrived editor to the Boston Globe, Baron is not intended to draw the same focus as the very dynamic group of reporters; however, he plays an important role as the catalyst for the important news story, and as such is responsible for propelling the film forward.

I would highly, highly recommend checking out Spotlight, especially for fans of dramatic procedural. The film is a well scripted, well crafted work of drama, featuring a creative and talented cast at their peak. Hands down, this is one of my top films of 2015.

My verdict: Five/Five Stars.

If You Haven’t Seen it Yet: Marvel’s Daredevil - Season 2 - Official Trailer

Marvel and Netflix released their full official trailer for season two of Daredevil this morning!! I’m a bit giddy with nerdish glee to write anything overly coherent yet. Except, casting Shane Jon Bernthal as the Punisher is a work of complete and utter genius.

More coming from me... Until then... check it out.

Marvel’s Daredevil premieres March 18th.

Hollywood Scandal of the Week: Thelma Todd

Thelma Todd (1906-1935) made her name starring in dozens of A-list comedies throughout the 1930's, working alongside figures like Laurel and Hardy and the Marx Brothers in films like: Another Fine Mess (James Parrott, 1930), Monkey Business (Norman Z. McLeod, 1931) and Horse Feathers (Norman Z. McLeod, 1932). At the same time, she was also the proprietor of a well known Hollywood restaurant, the Sidewalk Cafe. The story of her premature death at age 29, is one that has been plagued by numerous inconsistencies and foggy details, casting a shroud of doubt as to the true nature of the actress’ passing.

Todd was found dead December 16, 1935 slumped over in her car. Period sources state the cause of death as carbon monoxide poisoning, from fumes "she breathed accidentally" ("Thelma Todd Dead; Found in Garage" LA Times 17 Dec. 1935). The night of her death, Todd had been attending a party given by comedian Stanley Lupino (father of actor/director Ida Lupino), and was reported to have been in good spirits. She is also said to have consumed a number of drinks at the party, before returning home. In the above mentioned article, Ida Lupino is quoted as saying "(Miss. Todd) drank a cocktail before dinner and a little brandy and champagne during dinner.” In an interesting twist, a LA Times article dated 24 December 1935 has Lupino going against this previous statement, testifying that there was "very little" drinking at the party. This fact contributed to later theories as to the suspicious nature of Todd's death, as many sources have stated that her blood alcohol level would have been too high for the supposed chain of events to have occurred.

Todd is reported to have climbed the above staircase (approx. 270 stairs) from the beach, to the garage where she was eventually found. If her blood alcohol level was as high as it was reported (contemporary sources say .13), is it conceivable that the actress would have been coherent and coordinated enough to climb this rather intimidating staircase? This is a theory which was examined during the investigation. A 22 December 1935 article discussed this aspect of the investigation, 

"A woman operative about the size of Miss. Todd dressed herself in furs, evening gown and dainty slippers, as the actress had been attired. The operative then climbed the 270 steps leading from Miss. Todd's sidewalk cafe to the Cliff-side Garage in which the body was found. The slippers in the test were more scuffed than those of the actress, indicating Miss. Todd probably did not make the long climb as some investigators had theorized..." ("Todd 'Death Walk' Traced for Clue" L.A. Times 22 December, 1935).

Todd lived in an apartment over the cafe, so it would make the most sense that she would have had to scale the staircase to make the suicide/accidental death theory believable; however, the fact that her slippers were not scuffed lends fuel to lingering idea that she was murdered.

Further confusion stems from a number of eye witness accounts which cite to have spotted Todd around Hollywood throughout the day on Sunday (her time of death was stated to have been dawn on Sunday morning, with her body being discovered on Monday). This confusion first becomes apparent the day Todd's body was discovered. In the initial article reporting her death, a Mrs. Ford  (purportedly the wife of actress Wallace Ford) says, "I thought I was loosing my mind today when I was told the police said Thelma died at dawn Sunday....I talked to her some time between 4 o'clock and 4:30 Sunday afternoon. I've known her for years, and I couldn't be mistaken." ("Thelma Todd Dead; Found in Garage" LA Times 17 Dec. 1935). An article on Christmas Eve gives another witness account of Todd out and about hours after she reportedly died, quoting the owner of a cigar store, "She gave me a nickel and asked me to call a number for her. I don't remember the prefix, but the number was 7771. A minute or so later, a man came in and they left together....her high heeled shoes were a little bit dirty." ("Miss. Todd Linked to a 'Strange Man'" 24 Dec. 1935). There is also a supposed statement by Jewel Carmen, (the first wife of Todd's business partner and supposed lover) Roland West, that she had seen Todd in her car with a "strange man" after 11 o'clock on Sunday night.

Roland West was a former Hollywood director, and had been a partial owner of the Sidewalk Cafe with Todd. The two shared apartment space over the Cafe. Initial reports say that he locked Todd out after she did not get home from the Lupino party when he told her to (2 am); however, in an article dated 19 December, 1935, he gives a different sequence of events. He denies having locked her out, claiming that the threat was merely a joke between them. After going to bed at 2:30, he was awoken by the dog whining and what sounded like water running in the apartment. Thinking Todd had arrived home, he went back to sleep. ("Todd Death Sent to Grand Jurors" L.A. Times 19 Dec. 1935). If West was considered a suspect or a "person of interest," it was not apparent in the articles of the period.

The death of Thelma Todd is yet another in the long line of suspicious Hollywood deaths over the last century. Throughout the investigation, there were a number of inconsistencies preventing authorities from establishing a concrete timeline, or even a solid time of death. Due to the well documented nature of these issues, the final verdict of accidental carbon monoxide poisoning has not been popularly accepted; rather, people familiar with the case often believe more sinister events were afoot. There is definitely more to be written on this complicated sequence of events.

The Danish Girl: Just Another Oscar Picture

The Danish Girl follows the story of Einar (Eddie Redmayne) and Gerda Wegener (Alicia Vikander), a young married couple in Denmark during the 1920s. Both are painters, and members or a rather swinging (for lack of a better word) artist scene. The veil over Einar’s feelings (of a lack of comfort as a man) is gradually pulled back when he models for one of Gerda’s paintings wearing stockings and high heels. As the first act develops we watch Einar throw himself further into the persona of Lili (Einar’s female form), becoming increasingly less of the man he is as when the film begins, directly paralleling the explosion of his wife’s career as an artist.

Watching the film, this writer was quickly overcome with a sense of deja vu. I’d seen this before. Is director Tom Hooper a one trick pony? A very skilled one trick pony, but one nonetheless. The beautiful old European settings, the angle to the shots, I felt like I was watching Les Miserables all over again. The director, who’s previous credits include Les Miserable, The King’s Speech and the HBO mini-series John Adams is unparalleled when it comes to directing period pictures. Every frame of The Danish Girl is meticulously crafted, resembling the art in the character’s paintings. However, therein lies the film's problem. There were definite high hopes for the film, especially surrounding it’s subject matter, but it comes off as run of the mill Tom Hooper, mass produced, Academy Awards fodder.

It is the performances of the exceedingly talented cast which sell this film. Both leads are incredibly deserving of the awards attention they have been garnering. Swedish actress Alicia Vikander in particular is stunning in her role as Gerda. Vikander has came into Hollywood like a wrecking ball. Her 2015 was off the charts. On top of The Danish Girl, she generated a lot of attention for her portrayal of Ava in Ex Machina. She also did a lot of heavy lifting with a very thin role in Guy Ritchie’s The Man from U.N.C.L.E. She injects an interesting combination of innocence and world weariness into the character of Gerda, which seems incredibly sophisticated considering her relative youth as a performer. Alicia Vikander continues to impress with each role, and after the 2015 she's had, I can’t wait to see what she tackles next.

Eddie Redmayne is always good (Yeah, yeah, Jupiter Ascending not withstanding). The British actor is becoming a mainstay on the awards circuit himself. He won a number of awards (including the Best Actor Oscar) for his portrayal of Stephen Hawking in The Theory of Everything.  Even his early performances in Les Miserables and My Week with Marilyn received attention. Redmayne is incredible at injecting powerful emotion to even the most subtle moment. Incredibly boyish for his 33 years, he seems tailor made for the sensitive schoolboy roles he has been playing. However, I have to hypothesize, how will Redmayne evolve as he turns 40 and even (gasp!) 50.

I feel unqualified to speak on the intricacies of the script, and the historical details of the story. I know the script, which is based on the book by David Ebershoff, has seen much written in other reviews as to how it differs from the true story of Gerda and Einar Wegener. This is a matter I'll leave for the historians. As I was generally unfamiliar with the story of the films narrative, and a quick Google isn’t exactly research.

Interestingly, there seemed to be a disconnect in the narrative as to how the story wanted to deal with Einar's transition into Lili. There are some truly eloquent lines towards the end of the film, beautifully putting words to Einar’s feelings of being trapped in his own body; however, they seem wholly restricted to the third act. Prior to this, Einar’s true identity is treated more as an actor studying a role. We see him following women around, shadowing and imitating their movements as he slips further into his true self. Einar goes through periods where he throws himself completely into the Lilli persona, seemingly unable to pull himself out, even when requested to by a tearful Gerda. The closest analysis into the character is that he's so far in denial through most of the film that this is the only way he is able to interpret the feelings, but the narrative gives us very little true insight to demonstrate this.


A lighter gripe of yours truly... you signed Ben Whishaw. Use him! Don’t trot him out for two obligatory scenes and send him back to the BBC. It’s a crime to waste Ben Whishaw.

The pieces to make The Danish Girl a great film are all there, and it is definitely a good (if not beautiful) film. However, it seems like a film of missed chances. There are plenty of opportunities for it to stand out, and it just can’t capitalized.

Rating: 3/5 stars. 

Fangirl Friday: Domhnall Gleeson

The media has been all over the fact that actor Domhnall Gleeson had a doozy of a holiday season in 2015. In the span of two months, the actor appeared in three films: Star Wars: The Force Awakens, The Revenant and Brooklyn. These movies, which have earned tremendous critical acclaim, (as well as record-breaking box office takings in the case of Star Wars) have thrust the young actor solidly into public consciousness as a young actor to watch. Over the course of his still developing career, Domhnall Gleeson has demonstrated that he’s an incredibly versatile actor, who is not afraid to tackle a challenge, and try different roles.

Gleeson (first name pronounced Donal... just learned this myself!) isn’t a newcomer on screens. Despite having credits in his home country of Ireland dating back to 2001, his first foray into Hollywood came in the 2010/2011 blockbuster Harry Potter and the Deathly Hallows (Pt. 1 and 2) where he played the eldest Weasley child, Bill. A fun fact: Domhnall Gleeson’s father is Brendan Gleeson, who played Mad-Eye Moody in the Harry Potter franchise. Besides the final installment of the Harry Potter series, Gleeson also appeared opposite his famous father in 2014’s Calvary.   

Like his father, Gleeson has a chameleon like talent to meld into his roles, often to so much of an extent that he hasn’t been recognized. In the span of two short years, he had supporting roles (and further developed his skills as an actor in films like: Dredd (written by Alex Garland, who would later go on to pen 2015’s Ex Machina), True Grit and Anna Karenina. The early work he threw himself into (a dystopian sci-fi film, a western, and film with a basis in European literature) established early on how versatile an actor he truly is.

In 2013, Gleeson took another step in his career development when he starred in About Time, the latest film by Richard Curtis, the director responsible for Love Actually and Notting Hill. Gleeson plays Tim, a young lawyer who discovers that the men in his family have the ability to travel through time. The main character in the film, this is the first time we see Gleeson in the main romantic storyline (playing opposite Rachel McAdams). The two are adorable together, and really shine in the simple film. 

About Time was responsible for evolving Gleeson’s career to its' next phase, as a leading actor. He appeared opposite Michael Fassbender in 2014’s Frank. In early 2015, he starred with Oscar Issac and Alicia Vikander in Ex Machina. Both films were formidable in the “indie” film circuits in their respective years. Ex Machina is is currently nominated for two Academy Awards (Best Original Screenplay and Best Achievement in Visual Effects).

On a recent appearance on the Nerdist podcast, Gleeson spoke a lot about his website and YouTube channel Immaturity for Charity, which he built to showcase a series of short comedy sketches Gleeson wrote (and appeared in) to raise money for St. Francis Hospice in Dublin. The (NSFW) sketches are simply shot, with a cast primarily comprised of Gleeson's family and friends. As a fiction writer who typically falls solidly into heavy drama, the ability to write a funny comedy script, and organize a shoot earns him my unending respect. The sketches are all fun, but are a bit off-color. Check it out, but you have been warned.

It’s tough to write a conclusive piece on Domhnall Gleeson’s early career (other than to say Squee!), because his film choices have not been defined by anything other than randomness. As he has developed as an actor, Gleeson continually demonstrates that he is has the courage to jump into a variety of versatile roles, refusing to pigeonhole himself. 

The American Fangirl's Guide to Formula One: Jenson Button

Ladies and gentlemen... who am I kidding.... ladies. At the time of the writing of this article, we are 41 days away from the first F1 race of the season in Australia (so it will definitely be less by the time you read this.

Last week, I introduced my first piece in The American Fangirls Guide to Formula One article series. Today, I start the first of the driver specific pieces. I wanted to start with the driver who first opened my eyes to the awesomeness that is Formula One.

British driver Jenson Button is quickly turning into the grand old gentleman of Formula One. Button first emerged in F1 in the year 2000 as a driver for the small (but always spunky!) Williams team. In the 16 years which have followed, Button slowly climbed the ranks of F1 through teams like Brawn, Honda and Benetton. Button won the F1 drivers championship during the 2009 season (with Brawn), before finally coming to rest with the McLaren team in 2010. Button turns 36 years old this year, and shows no signs of relenting in a sport which is becoming increasingly dominated by teenagers.

McLaren has been Jenson Button’s home since then, where Button has been an integral part of a roster that has included World Champions Lewis Hamilton and Fernando Alonso. While another Championship has so far eluded him (and given McLaren’s performance over the last two season, this will likely continue) Button has been a sterling figure of consistency within the struggling team. With experience, Button has developed a smooth driving style, allowing him to coax everything he can out of a temperamental car.

 As a fan, I was struck by Button’s personality and temperament as an athlete. In recent years, the performance of the McLaren car can only be described as dismal. And in the face of almost constant disappointment, Button’s optimism (and that contagious smile) has been admirable. He keeps any pouting and temper tantrums out of the public eye, instead emphasizing the continual hard-work and effort necessary in the sport. It can be assured that Jenson Button will take the car out and give the race his all until the car will give no more.

It was Jenson Button who first drew me to Formula One, and it has been his attitude and consistency that has kept me following the sport since 2012. It has been a rough go for my boys at McLaren the past couple of years, but this writer hopes that they can put together one more good run before Button’s eventual retirement.

Musicians You Aren’t Listening To... But Should Be: Beecake

**May I start out by saying, typing Beecake with auto-correct is proving to be a pain in the you-know-what. If I have to delete the word Beefcake one more time...**

To make a long story short, I discovered Beecake during the existential crisis I found myself wallowing in following the release of The Hobbit: The Battle of Five Armies.

“But it wasn’t that good of a good movie?” you ask. 

“I’m perfectly aware of that,” I reply.   

“Why on earth did you care?” You ask again, threatening to revoke my nerd card.

I find myself pushing painfully close to a certain milestone birthday, and the Lord of the Rings trilogy was a really important series for me. I was just starting high school (you do the math), and I found my eyes opened (much in the way the previous generation had with the original Star Wars franchise) to the full and complete wonder you can create with a well-crafted film. 

Okay... I made a short story longer... 

Anywhoo....

Remember the big hoopla when it was announced that Billy Boyd would be writing and singing the final credit song in last Hobbit movie? After a quick Google, and YouTube search (Pippin will always be my favorite hobbit!), I discovered that since the last time I saw him, Billy Boyd had become a member of a music group (Beecake) based out of his home country of Scotland.

According to their website, Beecake was formed in 2006. Boyd is joined by band mates Billy Johnston, Rick Martin, and Paul Burke. At present, they have three studio albums to their name (all of which are available on iTunes... Squee!): Soul Swimming (2009), Blue Sky Paradise (2012), and their most recent album is The World of Things (2015).

As faithful readers know, my main focus is film and television, so music criticism is tricky for me (unless it’s something along the lines of ‘Yay! They’re awesome’). Which Beecake totally is. To me, their music can be classified as light rock and roll (with pop like tendencies), with a light alternative edge. Boyd’s vocals are crisp and clear, which he showcased clearly in a brief scene in The Lord of the Rings: Return of the King.

Beecake's songs run the gamut from the peppy and upbeat Perfect Time (see the video directly above), to the more somber ballad Please Stay. Even the songs which didn’t make it as singles are catchy, and worthy of a download. This writer is partial to Lost Direction and Rip it Up, both of which are on the bands inaugural album Soul Swimming. 

Beecake quickly became one of my favorite bands after I discovered their work, and they are slowly gaining prominence in the United States (they seem to be popping up at various comic con’s, thanks to Mr. Boyd’s LOTR connection). Check out their work when you have a chance, this band is on the way up.   

A Darn Good Actor: Glenn Ford

It’s painfully easy to miss an actor like Glenn Ford if you’re not paying attention. Cinema history of the immediate pre and post World War Two period is dotted with names like Cary Grant, Fred Astaire and Humphrey Bogart. The purpose of this on-going section is to (hopefully) acknowledge the performers who don’t get the popular recognition of the the A-list Hollywood superstars. These are the character actors, and the utility performers who put in amazing performances, but their names aren’t as well known as their top of the line counterparts.

Glenn Ford’s acting career spanned more than fifty years, from his debut in a Depression era drama Heaven with a Barbed Wire Fence in 1939 through a number of roles in smaller films in the 1990’s. Ford was a popular face on movie screens throughout the post World War Two period, beginning at the conclusion of his war service with 1946’s iconic film noir, Gilda and lasted until 1963 with films like The Courtship of Eddie’s Father and An Experiment in Terror. 

As an actor, Glenn Ford seemed to be created especially for the film noir movement, which sprung from the forced return to normalcy upon the return of the servicemen from the War. In the years following this important period in history, there has been much scholarly work written about the sense of wounded masculinity which permeated during this era. It is the societal conflict created by the returning servicemen from overseas into a changed society where in their absence women have been thrust into a sudden sense of empowerment, which is at the root of film noir.

In Gilda, Ford stars opposite Rita Hayworth in what ultimately turned out to be her star-making role. Coming in 1946, the film takes place in this pivotal period of transition following the end of the war. Much of the scholarship written about the film emphasizes Johnny’s (Ford) vulnerability against the strong and vivacious Gilda (Hayworth). In his essay “Resistance through Charisma: Rita Hayworth and Gilda,” Richard Dyer writes, “...He is softly lit (his weakly sensual mouth in particular highlighted), his hair brilliantined (thus rendered an interesting visual surface) and he is fastidiously dressed” (94). This role stands out as a complete reversal from the work Ford had done in the years before the War, which had primarily been been westerns. The argument being presented is that Johnny, formerly tough, hardened leading man was softened (the words overtly feminized is used), emasculating him against the empowered femme fatale Gilda.

Other film’s worthy of checking out featuring Glenn Ford are Blackboard Jungle (1955), The Big Heat (1953), and 3:10 to Yuma. Ford was an incredibly versatile, though understated actor, who was very much a product of his time. Ford's performances shine a light of understanding onto the complicated social climate surrounding the end of the Second World War. If you haven’t seen some of these film, this writer would highly recommend checking them out.

If You’re Not Watching, You Should Be: Manhattan

Update: WGN announced the cancellation of Manhattan last week, a mere two days after this blog entry was written. I’m choosing to publish this entry in it’s entirety, and not amend it after the cancellation. RIP Manhattan. 

In my latest entry into “If You’re Not Watching It, You Should Be...” I’m focusing on the WGN period drama Manhattan. The show, which was created by writer Sam Shaw, recently wrapped its' sophomore season on the small network, and the series continues to come into its' own as one of the most interesting and well-crafted series on television.

The cast of WGN’s Manhattan.

Manhattan follows the colorful cast of characters caught in the middle of the development of the atomic bomb in Los Alamos New Mexico during World War Two. The series has developed a focus on historical accuracy that this history nut applauds whole heartedly. While it might have been tempting to shoot in the deserts outside Los Angeles and on Hollywood soundstages, the crew chose to build a painstakingly accuracte set in New Mexico, allowing the cast to be fully immersed in the environment of Los Alamos, which plays a vital role in the show. 

I’ve already sang the praises of Ashley Zukerman, who plays the talented, up-and-coming physicist Charlie Isaacs through the first two seasons. Actor John Benjamin Hickey is another stand-out. Hickey is continually on the receiving end of amazing reviews, touting his layered portrayal of scientist Frank Winter. These are just two performers in an insanely talented cast, which when combined with an skilled writing, pushes the show to another level.

Watching season two has been fascinating in the incredible development which has occurred around the storyline following Charlie (Ashley Zukerman) and his wife Abby (Rachel Brosnahan). Viewers are first introduced to Charlie and Abby as a wide-eyed young couple, newly arrived on “The Hill.” Abby is the perfect example of the stereotypical, 1940s housewife, and Charlie (though nervous in his new role) is excited to provide for his young family in his quickly developing career. (I will endeavor not to give away spoilers in the coming section... but you have been warned...). As the series progresses, the stress and secrecy of Charlie’s expanding role within the Los Alamos scientific development team, as well as the almost surreal environment of ’The Hill’ forms a wedge between Charlie and Abby. The narrative shifts surrounding the couple, who are both openly struggling with the expected gender norms of World War II era America, is fascinating to watch. In the opinion of this writer, that they have become two of the most interesting characters in the series.


Finally, if you aren’t familiar with the name Katja Herbers, be sure you get that way.  Herbers plays female physicist Helen Prins in the series. Helen is the only woman employed on ‘The Hill’ who is not in the secretarial pool. She has worked her way up within Frank Winter’s organization, and is a trusted member of the group of scientists. In Herbers portrayal, Prins is (quite literally) a woman trapped in a man’s world. Glancing at her filmography, Herbers has been incredibly active in her home country of Netherlands; however, Manhattan is her first (and incredibly successful) foray onto American television screens. This writer can’t wait to see more work from her in the future. .

As I stated earlier, Manhattan just wrapped it’s second season on WGN. There has been no announcement of a third season renewal, but this writer is crossing her fingers that one will be coming soon. Until we know something on the third season, the first season is available widely through various streaming sources, as well as on DVD. Season two has been available to stream, and DVD’s should be coming by this summer.

Hail, Caesar!

I’m a sucker for anything to do with old Hollywood. (Obscure reference alert...) I watched every episode of The Lot when that was on AMC. So, when I saw the trailer for the newest Coen Brothers movie, Hail, Caesar! I was intrigued. The film piqued my interest to such an extent, that I decided to ignore my love/hate relationship with the filmmaking duo to check it out...

To start, the script of Hail, Caesar! (penned by the Coen Brothers, as per usual) is a complicated one. In the midst of sitting through it, the writer inside of me sat there wishing that I had written it myself. (As a side note: my old Hollywood TV pilot is now dead to me). The script is a complex, interwoven slice-of-life, following a handful of different story-lines taking place during a typical day at Capital Pictures, a fictional movie studio in Hollywood during the 1950s. The string tying all the narratives together is studio boss Eddie Mannix (Josh Brolin). The A-story line follows the kidnapping of studio leading man Baird Whitlock (George Clooney) by a shadowy, mysterious organization (no spoilers!). This is one of many plot lines, following a number of interesting, and well developed characters through various conflicts.


The film has a massive, and decidedly A-list cast. Scarlett Johansson plays DeeAnna Moran, an Esther Williams type aquatic musical actress, who’s love life is proving difficult for the studio PR machine to control. Ralph Fiennes is harried director Laurence Laurentz. Jonah Hill plays professional Hollywood “person” Joseph Silverman. Tilda Swinton and Channing Tatum round out the versatile group of performers.

Visually, the film is gorgeous. The design team does an incredible job creating the highly stylized image most of us see when we think of old Hollywood. The pic below is from DeAnna Moran’s water ballet. The composition of the shot is flawless. Looking from the rich, emerald green of her swimsuit to the layered colors of the curtains behind her, the look of the film has the crisp and polished aesthetic of a feature from the peak of the CinemaScope era like Oklahoma, or How to Marry a Millionaire. If this film were released in November or December, this writer would definitely be predicting a technical Oscar nomination for Hail, Caesar!. 

The creation of the old Hollywood aesthetic goes as far as the dozens of movie scenes depicted on-screen as Mannix goes through the narrative. There are musical numbers (including one by Channing Tatum demonstrating a Gene Kelly-esque versatility that this writer definitely wasn't expecting), western scenes, and elegant costume dramas all seen at various points. The talented cast manages to walk a complicated line in creating beat accurate interpretations of these common film genres of the immediate post World War II period, and then to incorporate little character quirks which break from the squeaky clean images, further contributing to Hail, Caesar!’s quirky humor.

Young actor Alden Ehrenreich’s performance as western turned drama actor Hobie Doyle stood out as one to watch. Ehrenreich is fairly new to Hollywood, having broken out in 2013’s teen fantasy Beautiful Creatures. He is developing a solid filmography, with credit’s in 2013’s Stoker and Blue Jasmine. His performance as the Gene Autry like, western actor Doyle who is thrust into a heavily dramatic piece has a wide-eyed honesty to it, definitely tagging the young actor as one to watch in the future.

Watching Hail, Caesar! the film can best be described as a quirky comedy (you never can be too sure when you go to see a Coen Brothers movie). However, there’s a strong potential for the humor to be inaccessible to some. Viewing this film in a group of four people, this writer found us split straight down the middle. Half of the group loved the film, half hated it. If you aren’t a fan of the Coen Brothers other works, I wouldn’t have this one be your first.

As of February 5th, Hail, Caesar! is currently out in wide release, and can likely be seen at a multiplex near you.

My verdict: Four/Five stars 

Fangirl Friday: Nathan Page

As I recently come clean on in another blog post, Miss. Fisher’s Murder Mysteries is one of my latest obsessions. The Australian mystery series, (available on Netflix for those not living in Australia) has amazingly quippy writing, delightful costumes, well-crafted and interesting stories and fun and likable characters. 

In this week’s installment of Fangirl Friday, I wanted to take a bit to spotlight the work of Nathan Page (Miss. Fisher’s Det. Inspector Jack Robinson), who has quickly scaled to the top of my list of schoolgirl infatuations. Jack’s relationship with Miss. Fisher (ship name Phrack) is one of my favorites to ‘ship’.

Nathan Page is a relative newcomer to television screens, having moved into acting late in life.  The actor has an interesting back story, having first jumped into popular consciousness as a professional cycler. A number of sources report that he left the sport at 19 because “he was one of only a few cyclists on the European tour determined to stay clean.” (Sydney Morning Herald 9.6.2013). The SMH goes on to quote Page, “It was an era that was plagued by drugs and it was very hard to see your way through to a long career.” (SMH 9.6.2013).

It was reportedly the “wilderness” of having stepped away from his sporting career that first propelled Nathan Page into an acting career. IMDB cites his first role as a film Strange Fits of Passion in 1999. In the 17 years which have followed, Page has been acting steadily, predominantly on Australian television. The most accessible for those not living in Australia are Miss. Fisher’s Murder Mysteries and a recurring guest role through eight episodes of Underbelly (a long running procedural, which is available to stream on various websites). However, most of us sit with bated breath, waiting for some announcement on the presumed upcoming fourth season of Miss. Fisher’s Murder Mysteries to see where the characters go after THAT season finale (spoilers, sweetie!).

The crime fighting duo with no sense of personal space...

It is Page’s incredible chemistry with series star Essie Davis which is vital to Miss. Fisher... as a successful series. The relationship between the two characters is quippy and fun, while at the same time boiling at some level under the surface, at which both are unable or unwilling to act on the feelings.

 Page has spoken in interviews about injecting an amount of wounded post-war masculinity into the character of Jack.  There has been a tremendous amount written on the sense of wounded masculinity following WWII (a scholarly passion of mine), but WWI has largely been forgotten about in the grand scheme of things. However, I think this line of thought is definitely noticeable in Jack (and definitely worthy of another article).

So, to wrap up a piece which is quickly growing in length, I find myself continually blown away with every performance I have been able to see of Nathan Page’s. It seems like it’s even more difficult (than my previous UK frustrations) to get film and television work coming out of Australia over here in the States. However, I would encourage fangirls the world over to check out the work of this talented actor. He needs to be on screens more.

Anatomy of a Movie Scene: Willing and Eager- “State Fair” (1962)

The scene in the above video has long been an interest of mine, dating back to my film student days. The film is a fairly inconsequential remake of the Rogers and Hammerstein classic State Fair. Despite having a stellar cast (Pat Boone, Ann-Margret, Bobby Darin, Pamela Tiffin and Tom Ewell to name a few) the movie is barely a blip on the radar of classic cinema. However, it is in the humble belief of this film student (graduate level... that means something, darnit!) that there is a lot going on in this film (especially as it relates to gender) which makes the 1962 remake of State Fair worthy of more attention.

The above musical number (and please check it out of context) leapt out to me as interesting from my first viewing of the film (at age 13). Why yes, I was watching Pat Boone at that age... wasn’t everybody? Superficially, ‘Willing and Eager' seems a bit steamy for cinema of the early 1960s, but nothing over-the-top... however, the scene gets quite a lot of depth when you analyze the respective performers (Pat Boone and Ann-Margret) star  personas to an elementary reading of what we are seeing in the music number.

Pat Boone is quite literally the personification of America in the 1950s. Boone entered public consciousness in 1955 when his cover of the Fats Domino hit Ain’t That A Shame hit #1 on the US music charts. He had another top 10 hit the next year with a cover of Little Richard’s Long Tall Sally. Boone was an adorable, squeaky-clean kid from the deep South (Florida) who wore his religion on his sleeve. He was ‘safe’ alternative to the rockers of the era: Little Richard, Fats Domino, Chuck Berry, Elvis Presley and Jerry Lee Lewis. While these men were largely responsible for the musical revolution happening during the period, they were loaded with racial and sexual overtones which were incredible threatening to the conservative leanings of the majority of 1950s audiences.

Here’s a clip of Boone performing his 1957 hit, Love Letters in the Sand. He was the boy which a girl growing up in 1950s suburbia could feel comfortable taking home to mother.

Meanwhile, in 1962 Ann-Margret was an relatively new face in Hollywood having first appeared in the 1961 film Pocketful of Miracles. She followed it up with musicals Bye Bye Birdie, and State Fair in rapid succession, followed by Viva Las Vegas, in which she co-starred opposite Elvis Presley.

Everything about Ann-Margret’s early film persona shows an acknowledgement of the sexuality she undoubtably possessed. And (interestingly) she’s allowed to be unabashedly sexual and still get the guy. In these early films, she is often the girl-next-door.  This is a complete reversal from the blatant punishment of the so-called femme fatales of just a decade earlier.

Check out these clips:

'Got a Lot of Living to Do’: from Bye Bye Birdie (she starts at the 1:20 mark).
‘Isn’t It Kind of Fun’: From State Fair. Contrast this, against the same song in the 1945 original.
‘Appreciation’: From Viva Las Vegas.

This writer believes it is not a huge stretch to say that in this clip from State Fair, the ultimate 1950s good boy has just been (or is about to be) deflowered by the seductive (but harmless) actress Emily.

Let’s look at the visual cues:

1.) There’s a bed in the shot. I repeat a  double bed... not the Hayes Code approved twin beds.
2.) They are all over each other (sources report it was a big thing when Pat Boone kissed Shirley Jones on-screen in April Love just five years earlier.
3.) “Hungry and thirsty and near as can be...” (I don’t think he’s singing about her being peckish).
4.) “Darling let’s count to ten... or five at least...”
5.) “Here I am, look around...”

Look for more from me on the 1962 State Fair, there’s a lot to be analyzed.