Blog PostsFormative Performances: Natasha Lyonne in “But I’m a Cheerleader”

When I first heard about the movie But I’m a Cheerleader back in 1999, I was immediately intrigued. A story about a gay reeducation camp trying to turn kids straight – and it was a comedy? I was all in!

Of course, I didn’t wind up seeing the movie until many, many years later, when I finally got a Netflix account. It was one of my first rentals. I loved the movie even though critics didn’t. It was campy and silly, and camp and silliness are both right up my alley. And I loved Natasha Lyonne in this movie, as the lesbian cheerleader who didn’t know she was a lesbian…because she was a cheerleader.

I was used to seeing Natasha Lyonne play snarky, sarcastic roles, and I expected some of that snark and sarcasm to manifest in her portrayal of Megan, but it never came. Megan is sweet, naive, innocent, and very very gay without realizing it right away. Watching her grow and change over the course of the movie without ever losing her core sweetness is a true delight for me. I am so proud of her at the end of the film (though I won’t say why).

This is where I would normally put a clip from the performance, but some of the scenes from But I’m a Cheerleader need logins and over-18 confirmations to watch them, and others can’t be embedded in blogs. (Sigh.) The more the world changes, right? Instead, I’ve put a clip of the trailer for But I’m a Cheerleader, and you can get glimpses of Natasha Lyonne being cute, as well as Clea DuVall and Cathy Moriarty being hilarious.

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Blog PostsFormative Performances: Melanie Lynskey in “Heavenly Creatures”

Today I want to talk about Melanie Lynskey in Heavenly Creatures, and I’m having a bit of trouble.

Part of my struggle is due to the chilling nature of the movie. It’s about two girls with an obsessive, destructive, strangely beautiful friendship. Watching them become more and more obsessed with each other is unsettling, and some of the film makes me want to shriek and cover my eyes out of fear and anticipation of what I know is coming.

Part of my struggle is due to the fact that I can’t find my favorite clip of Melanie Lynskey in this movie, which is really annoying. Why can’t YouTube serve all of my whims on demand?

Either way, I like this clip because it shows the beginning of the developing friendship between Pauline and Juliet and their escape into the fantasy world they created for themselves. Both actresses are great in this movie, but Lynskey is the one that scares the hell out of me with her abrupt, yet believable, switches from passion to delight to intense, murderous anger in different scenes of the film.

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Blog PostsI See What You’re Doing There.

Remember when Rush Limbaugh called Sandra Fluke a slut? People got angry about it, contacted advertisers about their displeasure, and advertisers dropped him, leaving dead space on his air in place of advertisements. Good times. (The advertisers dropping him, not Rush Limbaugh calling Sandra Fluke a slut.)

Some people had the temerity to point out that hey, liberal commentators don’t have a great track record with respect for women, either, citing examples of Bill Maher, Ed Schultz, and Keith Olbermann making misogynistic comments about conservative women (and in some cases, progressive women – just watch Chris Matthews foam at the mouth whenever you put the words “Hillary” and “Clinton” next to each other.)

These people are not wrong to call out liberals on their hypocrisy. If you care about fighting misogynistic attacks against women, you care about fighting misogynistic attacks on all women, not just the ones you don’t like. This doesn’t mean you have to refrain from criticizing any woman simply because she is a woman; this means you should stick to criticizing a woman based on her actions, not on the fact that she probably has a vagina. (I say “probably” because I don’t wish to exclude trans women.)

To those of you who make a point of speaking out against misogyny because you care about women, thank you for using this as an opportunity to educate and promote awareness, to attempt to expand the minds of the people around you. Respect.

To the rest of you who only seem to be interested in misogyny when liberals are the ones making those attacks?

I see what you’re doing there.

Yes, you’re right to call out people like Maher, Schultz, Olbermann, Matthews, et al for their misogynistic comments. That is a good thing that you are doing. But when you remain completely silent on the actions of Rush Limbaugh except to say, “Remember that time Ed Schultz called Laura Ingraham a slut?”

I see what you’re doing there. You are trying to create a false equivalence.

Yes, it is a false equivalence, and here’s why.

Let’s pretend Rush Limbaugh and Ed Schultz made these comments at the exact same time, within their own little thought bubbles. They both called a woman a slut. They both used misogynistic language. Removed from context, one comment is no worse or better than the other. Removed from context, they are equally bad and misogynistic.

But let’s put the context back in and look at those comments again. While they are equally bad, the effect and implication of those comments are a bit different. Unless I’m remembering incorrectly, Ed Schultz didn’t make his comment during a time where state governments were scrambling like mad to limit free speech rights of conservative women. But Rush Limbaugh made his comment at a time where state governments are scrambling like mad to limit women’s reproductive rights, where mostly men are making loud proclamations in every state, “I’M IN UR UTERUS, CONTROLIN UR BODY!”

Keep in mind that the above link isn’t a comprehensive list. EMILY’S List composed that list before Oklahoma introduced a bill to put abortion details online (violating HIPPA rights, I’m sure), before Arizona passed a bill that would allow an employer to refuse contraception coverage to an employee AND discriminate against an employee if she pursues coverage independently, before whatever unrelenting assault on women’s health care and contraception happens today or tomorrow or the next day…and during all of this, our ostensibly pro-choice abortion-loving president remains completely silent, except to call Sandra Fluke to say, “Thank you for standing up for women’s health [so I don’t have to].”

And even though proponents of these legislation pretend to care about religious freedom or taxpayer dollars, it’s only a matter of time before you get a comment about aspirin between the knees, or someone saying that “If women didn’t have the sex, we wouldn’t have this problem to begin with,” or someone comparing women to cows and chickens. These comments all come from legislators or billionaire fundraisers for presidential candidates.

In other words, we’re not mad about Rush Limbaugh just because of Rush Limbaugh. If he were some asshole on the street making sexist comments as we’re trying to go to work, we’d roll our eyes and move on, annoyed, but probably not letting it ruin our day. But dear old Rush is spouting views that are held by many legislators in the Republican party, the ones who claim to care about religious freedom and taxpayer dollars and then, two seconds later, make slut-shaming comments about women and prove that they are inherently hostile to the idea of women having sex and controlling their own bodies.

The candidates’ responses to Rush’s comments speak volumes. Mitt Romney says it “wasn’t the language he would use” – but the sentiments are A-OK, Mittens? You would have said “trollop” and “streetwalker” instead? Santorum says Rush is just an “entertainer” – I guess you’re entertained by the idea of a man harassing a woman and asking that she put videos of her having sex online? That’s a good idea to you, eh, Ricky boy?

And while this is going on, while women are being told every day by our state governments that we’re sluts if we have sex, prostitutes if we want to use contraception, and mini-Hitlers if we want an abortion, you have the gall, the temerity, the audacity, to bring up Bill Maher and Ed Schultz?

I see what you’re doing there. You do not give a fairy’s fart about what’s happening to women in this country, the double standards at work, the fact that Georgia legislators want to outlaw abortions for stillborn fetuses that are already dead. You just care about WINNING.

Well, congratulations on WINNING! I guess your goal in life is to be as much of an asshole as Charlie Sheen.

You are the equivalent of the kids I used to teach. There were kids, and then there were Those Kids. Those Kids who would do something inappropriate, and then, when I called them out for being inappropriate, would say, “But you didn’t say anything about X doing that to Y!” They cared not a thing about changing their behavior, or internalizing the principles I was trying to teach them. They were just mad they had gotten caught and were trying to change the subject and get me to focus on something else.

You, those of you who have not condemned Rush Limbaugh and have only said, “But but but ED SCHULTZ!” You are the same as Those Kids, with one important difference: they at least had the excuse of being thirteen years old.

You? You are a grownup. What’s your excuse?

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Blog PostsFormative Performances: Audrey Hepburn in “Breakfast at Tiffany’s”

[The following is a guest post from abovethetitle.]

To say that Audrey as Holly Golightly is formative is beyond cliche in 2012 but nevertheless, I would be lying if I said she didn’t influence my fashion and my love for cinema. I could have chosen the clip of her singing “Moon River” on the windowsill (a lovelier song I have never heard) but I went with the iconic opening instead, as it shows off the black dress, the NYC street scene cinematography and the giant sunglasses. The scenes with Mickey Rooney really hold the movie back from being a true upper-echelon classic but her performance is without a doubt one of the most influential for women across the board. There’s even a book out now called “Fifth Avenue, 5am: Audrey Hepburn, ‘Breakfast at Tiffany’s’ and the Dawn of the Modern Woman.” Now, THAT’S a formative performance.

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Blog PostsFormative Performances: Kate Winslet in “Sense and Sensibility”

What, did you think I was only going to write one post about Sense and Sensibility? Preposterous!

The 1995 film adaptation of Sense and Sensibility was meaningful for me in several ways. It was my first introduction to Jane Austen, and if you haven’t noticed, I kinda like her a little bit. It was also the film that cemented my love for Emma Thompson, and if you haven’t noticed, I kinda like her a little bit, too. Finally, it was the film that introduced me to another one of my favorite actresses, the lovely and luminous Kate Winslet.

In this movie, Kate Winslet plays Marianne Dashwood, the polar opposite to her practical sister Elinor. Marianne favors deep emotion and sensibility over exercising good sense (hence the title). She scoffs at social rules and prefers to follow her heart above anything else. She throws caution to the wind and openly embraces the man she loves (or at least what passes for an embrace during the Regency period), and is humiliated to discover that he has found another person to marry:

Poor Marianne. She’s fallen too hard, too fast, and made a bit of an ass of herself – not that I can relate to that feeling at all (*cough.*) I will be completely honest here: at different times during my life when I have felt overwhelmed with emotion, I sometimes tell myself, “Stop being a Marianne! Be an Elinor! Calm down!”

Yet Marianne is more of my default emotional state, one who feels deeply and can’t always hide it. When I first saw those large, wounded eyes on Kate Winslet’s face fill with tears of shock and betrayal, I fell in platonic love. Her Marianne spoke to me and I wanted to climb into the screen and give her a hug.

I’ve followed Kate Winslet’s career pretty closely over the years. Of the thirteen performances I’ve seen, I think Little Children is probably her best work because it’s the most subtle and nuanced. But I’m talking about formative performances this month, not All-Time Best Performances, and Sense and Sensibility is the movie that made me start following her work. And yes, I will absolutely be going to see Titanic in 3-D next month.

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Blog PostsFormative Performances: Paige O’Hara in “Beauty and the Beast”

[The following is a guest post from abovethetitle.]

Greatest. Disney. Heroine. Ever! Why? Because she loves to read!

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Blog PostsFormative Performances: Emma Thompson in “Sense and Sensibility”

What, did you think I was only going to write one post about Emma Thompson? Preposterous!

In the 1995 film adaptation of Jane Austen’s Sense and Sensibility, Emma Thompson plays Elinor Dashwood, a very different character from Beatrice in Much Ado About Nothing. While Beatrice is feisty, independent, and never afraid to share her opinion, Elinor is very guarded. She holds her emotions close to her chest and lets reason and good sense rule her life. Even when she faces disappointment, she can usually find a reasonable explanation for why the disappointing event happened. It’s her way of moving on and coping.

Her mother and sisters are much more overtly emotional than Elinor, and they often mistake her calm, serene exterior as evidence of a lack of feeling, when nothing can be further from the truth. In this scene, Elinor and her sister Marianne (Kate Winslet) learn that Edward Ferrars, the man that Elinor loves, is engaged to Lucy Steele. (Full disclosure: Lucy Steele is terrible. We love to hate her.) Marianne realizes immediately that Elinor has known all along and confronts her sister about the information.

This is the first scene where guarded, reasonable Elinor almost breaks. She lets out a cry from deep within her chest that almost gets through, almost takes over, but she catches on at the last minute because she can’t cry – not over this, not in front of her sister, not in front of everyone. If she dwells on this disappointment, she’ll never be able to move on, never be able to pretend that everything is okay.

And she wrote this scene – adapted from Jane Austen’s marvelous prose, yes, but some of that dialogue is completely her own. I adore her.

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Blog PostsFormative Performances: Natalie Wood in “Splendor in the Grass”

[The following is a guest post from abovethetitle.]

I think she’s one of the very best actresses in history, maybe somewhat undervalued by Hollywood at certain points in her career, but she gives this performance her all. I remember being recommended this film by a great friend who is also a Wood fan and I was completely knocked out. It’s one of the great portraits of teenage depression. The movie might be tainted forever by being the namesake for the boat where Natalie spent her ill-fated last night of life but nothing can ruin Natalie’s acting prowess in the bathtub scene. It’s quite remarkable to think that she was so famously terrified of water but probably the best scene of her entire career was right here.

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ReviewsSketch Comedy Monday: “McHutchence vs. Greeley III”

Are you tired of the Republican 2012 primary election? I know I am. But never fear – you don’t have to watch repetitive CNN debates and listen to the talking points. All you need to do is watch the political ad campaigns of Charles McHutchence and Harrison Greeley III.

This ad tells you everything you need to know about the current candidates. Don’t worry – soon they’ll stop attacking each other and find common ground by sharing personal memories of growing up rich.

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Blog PostsFormative Performances: Emma Thompson in “Much Ado About Nothing”

Oh, Emma Thompson. What can I say about you? How do I even begin?

Emma Thompson is my favorite living actress. How others feel about Meryl Streep is the way I feel about Emma Thompson – which isn’t to say you can’t be a fan of both of them, but Thompson gets to my heart in a way that’s unique and makes me want to be her when I grow up. I can’t run out of good things to say about this woman and how much I admire her as both an actress and a writer.

The first time I came across Emma Thompson was in Kenneth Branagh’s adaptation of Much Ado About Nothing, a movie I have watched approximately fifty bajillion times. I still have the VHS somewhere in my house – a gift to me for my seventeenth birthday, and I watched it every day for a week after I got it. Benedick and Beatrice are the quintessential Bickering Couple. Modern romantic comedy pairings wish they could be Benedick and Beatrice.

I could write a separate post all about the relationship between Benedick and Beatrice, but not THIS day. This day is about celebrating Emma Thompson’s work in that movie. Her Beatrice is joyous and spirited and cynical and mistrusting all at once, and has a sparkling wit that shines through her and makes her the favorite person in the room, even when she’s gently poking fun at all of their social mores.

And for special bonus footage, here’s a scene of Benedick and Beatrice arguing!

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