Blog PostsFormative Performances: Gwyneth Paltrow in “Emma”

For Day 3 of Women’s History Month, I’d like to talk about Gwyneth Paltrow.

No, seriously.

Look, I know we’re not supposed to like Gwyneth Paltrow. Her public persona reeks of privilege and cluelessness about how ordinary people have to live their day-to-day lives. (I bet Mitt Romney subscribes to her newsletter.) But as an actress, she’s always interested me, largely because of Emma.

When I first saw Emma, I was young enough that the concept of an American actress doing an English accent was exciting and daring. After the movie was over, I was shocked to learn that the actress who played Emma was really an American! But, to be fair, Gwyneth Paltrow would also probably be shocked to learn that she’s an American.

All jokes aside, Paltrow’s performance in Emma impressed me. She perfectly embodied an attractive, rich woman who believed that she knew what was best for everyone else and spent her life telling other people what to do.

Okay, no, all jokes aside for REAL, I love her in this movie. This is one of my favorite scenes:

Emma tells Miss Bates that she (Miss Bates) is limited to saying “only three dull things.” I hear her say that, and I cringe. It’s so mean, one of Jane Austen’s meanest moments from all of her books, and it’s coming from her heroine, not from one of her standard Frenemy Bitch characters like Miss Bingley or Lucy Steele or Mrs. Elton.

Kate Beckinsale played this character and moment in the TV adaptation, and she does a good job, but she has a different take on Emma. Her Emma is caught up in being the life of the party. She comments on Miss Bates and laughs at her own joke, looks at her friends and relatives to see their reactions, and realizes too late that she said the wrong thing.

But Paltrow’s Emma is steely in her delivery. She knows she’s saying the wrong thing even as she says it because she wants the upper hand after being snubbed by the Eltons. When she sees how hurt Miss Bates is, she’s horrified – yet not enough to apologize. She has to watch the trainwreck she caused unfold before her eyes.

Emma is probably the most difficult of Austen’s heroines to like, but Gwyneth Paltrow made me appreciate her and connect with her years before I read the book. I have to give her props for that.

Posted in Blog Posts | Tagged , | Leave a comment

Blog PostsFormative Performances: Keisha Castle-Hughes in “Whale Rider”

[The following is a guest post from abovethetitle.]

In 2002, a great miracle happened. New Zealand’s Niki Caro searched far and wide for an actress to play the lead in her adaptation of “Whale Rider,” the story of a young girl struggling to become the leader of her patrilineal tribe. After auditioning 10,000 children, she discovered Keisha Castle-Hughes, who had never acted in anything and who famously lied by saying she could swim well enough to survive the film’s underwater scenes. Despite being foreign, low budget and completely unknown, Castle-Hughes’s performance rightfully gained some very VIP fans, with Julia Roberts openly campaigning for the 12-year-old to be recognized by Oscar. In one of the biggest nomination morning shocks in recent memory, Castle-Hughes scored big, becoming the youngest ever nominee for Best Actress, despite being campaigned and SAG nominated for Best Supporting Actress. Unlike a lot of performances bound to make this list, this is one you may not have seen. The scene I chose is the pinnacle of her performance and one of two scenes in this underrated gem that moved me to tears.

I have several great memories associated with seeing this for the first time, both due to the caliber of her performance as well as the message board frenzy about her at the time. We all seemed to adopt this meme as our own and were pleasantly elated when Oscar seemed to think out of the box and get something right. As an aside, this film is also one of the great modern odes to girl power, with a pre-teen struggling against the traditions of her ancestry to prove that she is indeed a worthy successor to her lineage. It’s no wonder this is one of my formative performance choices.

Posted in Blog Posts | Tagged , | 1 Comment

Blog PostsFormative Performances: Kirsten Dunst in “Little Women”

Happy Day 2 of Women’s History Month! For my second entry, I’d like to piggyback on abovethetitle‘s first guest post from yesterday (which I loved, by the way).

As we both mentioned, we’re talking about formative performances – the female performances that helped shape us into the women we are today.

I first talked about Vivien Leigh in Gone with the Wind because it was the first time I saw a woman completely dominate a movie. If I remember correctly, Scarlett is in almost every scene of this four-hour movie. She barely leaves the screen and she commands it every time. Scarlett is both larger than life and completely, irresistibly human. I love her SO much.

abovethetitle talked about Winona Ryder in Little Women, another performance that I put on my favorites list. Fierce, tomboyish Jo March is one of the characters that inspired me to be a writer, and I love Winona’s portrayal of her. But the 1994 adaptation of Little Women is also notable for introducing me to Kirsten Dunst.

If I were a professional actress, I wouldn’t mind having a career like Kirsten Dunst’s. She’s worked with interesting directors over the course of her career and played atypical “child actor” roles since she was a wee lass (Interview with the Vampire). She has a good eye for scripts. When she acts in a failure, the movie is (usually) at least an interesting failure, and even her teen movies tend to be better-than-average teen movies (Bring it On).

But really, I will always hold a soft spot for Kirsten Dunst because she made me like Amy March.

Remember Amy March? That vain little brat who burned Jo’s manuscript just because Jo didn’t want Amy tagging along on the double date with Laurie and John Brooke and Meg? Jo worked so hard in her writing and Amy threw it in the fire. I HATE HER.

But I don’t hate her when she’s played by Kirsten Dunst. How can I? Look at her:


She’s so excited to be in the same room with her big sisters as they prepare for Belle Gardiner’s party. She can’t wait to be grown-up like they are. When Jo accidentally burns some of Meg’s hair, Amy keeps a level head and finds a way to cover the spot. She has that same level head when Meg laments over her lack of suitors. “You don’t need scores of suitors. You only need one – if he’s the right one.”

After watching Little Women, Winona Ryder and Kirsten Dunst became two of The Actresses whose movies I always wanted to see. I mentally cast Dunst in every imaginary movie adaptation of every young adult novel I read (when I wasn’t casting myself, of course). All because she made me like Amy March.

Kiki, I congratulate you on your varied and interesting career and I was delighted to see you become one of the indie darlings. Thank you for making me find affection for the little girl who burned Jo’s book. That’s a Herculean feat, and you pulled it off. Well done.

Posted in Blog Posts | Tagged , | 1 Comment

Blog PostsFormative Performances: Winona Ryder in “Little Women”

[The following is a guest post from abovethetitle.]

Hello everybody! I’ll be guest-blogging on The Funny Feminist for the next 31 days as we celebrate the female performances that helped shape us, move us and inspire us to become the women we are today. Coming up with this list was certainly not easy. In fact, as Lady T will attest to, it went through half a dozen re-writes as we tried to figure out a balance between those we like and those that have truly meant something to us. In the end, the only real barometer was could we say that each of these inspired us to think about something for even a minute after the screen went dark? Some may be big Oscar-heralded legends (like Lady T’s bravura first choice), some may be guilty pleasures, some may be forgotten gems but they all share a commonality that made them a part of this list. I encourage readers to comment and to share some of their own.

For my first choice, it was actually not difficult. Growing up, this was my favorite book. It still is. This remake came out in 1994 and my parents took me along with my other 11-year-old friends to see it in the cinema for my birthday. For many generations, Katharine Hepburn was the definitive Jo March but for me, it is and always will be Winona Ryder. As an aside, she received a very well-deserved but very shocking Best Actress nomination for this performance in “Little Women”:


Posted in Blog Posts | Tagged , | Leave a comment

Blog PostsFormative Performances: Vivien Leigh in “Gone with the Wind”

Happy Women’s History Month! For the next 31 days, my dear friend abovethetitle and I will be showing film clips of some of our favorite film performances by actresses. These are not necessarily performances that you will see on top 10 lists or represented in the Academy Awards. These are performances that moved us, shaped us, changed us, and made us the women we are today, and all that sentimental girly crap we ladies like to talk about.

It just so happens that the first performance I’m recognizing is an Academy Award-winning performance: Vivien Leigh as Scarlett O’Hara in Gone with the Wind. I’m not sure I’ve ever seen an actor command the screen the way she does. I love her to pieces.

 

Posted in Blog Posts | Tagged , | 3 Comments

Reviews“Sex and the Single Girl” and “Down with Love”: Sometimes, the Parody is All You Need

Okay, fess up. Which one of you told me to watch Sex and the Single Girl?

Come on. I know it was one of you.

I could easily go back to my other posts and read through the comments to determine which one of you insisted I watch that piece of excrement. I could do that without taking too much time, but I want to give you a chance to do the right thing and own your mistake.

No? Fine. Be a coward. Just know that you have lost my trust forever.

Sex and the Single Girl is a “romantic comedy” except there’s nothing comedic or romantic about it. It’s a stupid, stupid movie with a cast of old Hollywood film stars who must have desperately needed a paycheck something fierce, because I can’t believe that Natalie Wood, Tony Curtis, Henry Fonda, and Lauren Bacall actually thought this script was good. Were they all snorting the same cocaine?

The premise is that Tony Curtis plays a tabloid journalist who wants to write a dirty expose on Natalie Wood’s character. She’s a psychologist (at age twenty-three, because that makes sense) who wrote a best-selling book called Sex and the Single Girl about women and their sex lives. He adopts the persona of his hen-pecked neighbor (played by Henry Fonda) so he can seduce this psychologist/author and find out whether or not she’s a virgin.

I can’t even talk about the gender/sex issues in this movie because the whole thing was SO BAD. Terrible acting, terrible writing, terrible car chase sequence – oh yes, there’s a car chase sequence where multiple people are trying to chase each other to the airport. There are mistaken identities and wackiness!!! There are references to the fact that Tony Curtis was in Some Like it Hot with Jack Lemmon, and Tony Curtis’s character is even described as looking like Jack Lemmon! Because they look totally alike! (They don’t.) There are scenes where people fall into water and try to fish each other out and it’s all the HEIGHT OF HILARITY!

It’s not. This was almost as painful to watch as Valentine’s Day. It was only marginally less painful because a) Valentine’s Day had four times as many characters making asses out of themselves, and b) my mom watched the movie with me, and her horrified looks and commentary helped pass the time. (I would apologize for subjecting her to such a movie, but I had planned to watch it by myself when she came into the room and sat down, so I have nothing for which to be sorry. It was her choice.)

Anyway, forget the gender commentary. Forget this movie, period. If you want to watch a movie with a near-identical plot but is a lot more enjoyable and clever, then check out Down with Love.

Down with Love stars Renee Zellweger as a plucky, small-town librarian named Barbara Novak who wrote a bestselling guidebook instructing women to have sex for pleasure and avoid love at all costs. Ewan McGregor plays Catcher Block, a womanizing journalist who wants to sink Barbara Novak’s reputation after she decried him on national television. He pretends to be a different person so he can romantically seduce Barbara Novak and get her to admit that she’s “just like every other girl,” i.e. someone who wants marriage and romance, not sex.

The premise is the same but the execution is different. Down with Love is winking at the movie that Sex and the Single Girl wants to be and everyone is in on the joke. Zellweger and McGregor – as well as their supporting players, David Hyde Pierce and Sarah Paulson – know exactly what they’re doing. (This isn’t to say that the performers in Sex and the Single Girl weren’t aware they were filming a comedy. They seemed to be under the impression that they were filming a good comedy, though, and that makes me embarrassed for all of them.)

Down with Love also looks at the issue of the “battle of the sexes” in a clever way, tackling the issue from the perspective of women who take stereotypical male roles and men who take stereotypical female roles. It’s not particularly cutting-edge comedy, but I enjoy watching a modern point of view permeate a 60s nostalgia movie. The film also has one of my favorite parodies of a deus ex machina that I’ve ever seen, when one character takesthree minutes to explain the plot and twist ending to another character.

Reading this, you might think, “Well, I have to see both movies, don’t I? How will I understand the parody if I don’t see the original movie first?”

Squash that instinct. There is absolutely no reason to see Sex and the Single Girl. If you want to watch Down with Love, watch it. You will understand the parody if you are even vaguely aware that the 1960s existed.

Although, now that I’ve written a post about these movies, I’m wondering if I completely misunderstood the point of Sex and the Single Girl, and if it was, in fact, a parody of romantic comedies the way Down with Love was. Have I entered a wormhole where I am unable to differentiate between what is genuine and what is parody?

I don’t know how to answer that question.

Posted in Reviews | Tagged , | 6 Comments

Blog Posts5 Meryl Streep Performances to Watch Instead of “The Iron Lady”

Two days ago, Meryl Streep won her third Academy Award for her portrayal of Margaret Thatcher in The Iron Lady.

When this happened, I was attending an Oscar party that had almost twenty guests, and all but one person loudly groaned when Streep’s name was announced.

Was this party attended by a bunch  of Streep haters? No. In fact, most of us love Meryl Streep. We were just annoyed on behalf of Viola Davis, who gave a lovely, subtle, moving performance in The Help. We were rolling our eyes at Meryl Streep doing her very best Taylor Swift impersonation during the acceptance speech when she acted as though she had no idea she would win, even though she wore a gold dress to the ceremony. (Girlfriend, you dressed as an Oscar. Clearly, you thought you had a chance.)

Most of all, we were annoyed that Meryl Streep, celebrated and brilliant actor, won her third Academy Award for a ham and cheese sandwich of a performance.

Then I was struck with a horrible thought: the idea that people who didn’t know any better would subject themselves to The Iron Lady, thinking that it must be a great performance if it finally won Meryl Streep her third Oscar.

People. No. Don’t put yourselves through that. It’s not worth it. Trust me. Unless you want to spend your time sitting through a bazillion speeches about How Hard It Is To Be A Woman In Politics, poorly edited hallucination scenes about a woman imagining the spirit of her dead husband, and some of the most manipulative garbage recently put onto film, avoid The Iron Lady at all costs.

Instead, I will offer you an alternate list of 5 different Meryl Streep movies you can watch instead of The Iron Lady.

1. Kramer vs. Kramer
This was Streep’s first Oscar-winning performance and it’s easy to see why. She plays Joanna Kramer, a woman who feels trapped in her marriage and leaves her husband and child. She plays Joanna as being uncomfortable in her own skin; she can barely look her ex-husband Ted (Dustin Hoffman) in the eye even after she’s spent some time finding herself. It’s a very good movie in general – Hoffman’s performance is also great, and the custody fight as depicted in the courtroom is a fascinating look at the different gender stereotypes that both mothers and fathers have to face. (Joanna’s sexual life is called into question, and Ted’s ability to be a financial breadwinner is a comment on his manhood.) Really well-done.

2. Silkwood
One of the better entries in the “Meryl Streep plays a real person” subgenre, Silkwood is like Norma Rae with a sad ending. Karen Silkwood is a worker at a nuclear plant who is exposed to radiation, and she’s the whistleblower that tries to expose the plant’s corruption. It’s a performance – and a movie – that avoids sentimentality and a “rah rah you go girl” message. Some of the scenes where Karen is scrubbed down are a little hard to watch, though – just giving you all a fair warning.

3. A Cry in the Dark
This is a movie about a couple whose child dies and they are suspected in their murder. It would be easy – so easy – for an actress to give a completely weepy performance in this movie. Not only has her child died, but she’s suspected of the murder. But Streep gives Lindy Chamberlain a brittle hardness, creating a real human being out of what could be a Lifetime performance. I had a serious case of ugly crying when watching some of her scenes with Sam Neill. This is also worth watching for the origin of “A dingo ate my baby!”

4. Death Becomes Her
This is not a good movie. It’s a very silly comedy about bitchy women who are too obsessed with their looks. Still, Streep obviously has a hell of a time playing the vain actress Madeline, and I get vicarious joy out of watching her and Goldie Hawn tear it up. Seeing Bruce Willis play completely against type is also a treat.

5. The River Wild
Meryl Streep in an ACTION MOVIE! Kind of. A family goes on a whitewater rafting trip and encounters two criminals. It’s an average thriller, neither good nor bad, but entertaining enough, especially with a cast that includes Streep, David Strathairn, Kevin Bacon, and John C. Reilly. The child actor is also non-annoying. Streep elevates a film that’s decent, but not great, to another level.

Of these five movies, Streep won for Kramer vs. Kramer and was nominated for Silkwood and A Cry in the Dark. If you feel the urge to see The Iron Lady, do yourself a favor. Watch one of the other movies on this list and pretend she won an Oscar for any of those performances.

Posted in Blog Posts | Tagged | 12 Comments

Blog PostsOn Rape Jokes, Part 2

I wrote a post about rape jokes back in November and it’s already become one of my most popular posts. I don’t know if my blog got an increase of traffic because people were looking for commentary on rape jokes, or a list of hilarious rape jokes to tell their friends, but I’ll pretend it’s the former for my own peace of mind.

Early this morning, I got a comment from someone with the handle Laptopkerouac, and though I thought about responding directly in the comments section, I realized I had too much to say on the subject to limit it to the comments section. There are a couple of misconceptions here that I want to clear up.

“What irks about feminists railing against rape jokes, is that they rarely show any sign of perspective about other sensitive topics that are sometimes the subject of jokes. Rape is a subject that is of particular significance to them, and so they argue that rape is the one subject that has no place in humor.

When i was discussing the movie “Twilight: New Moon” with some of my friends i brought up the scene after Edward leaves Bella, when Bella spends what looks like months gazing off into the distance with a “thousand-yard stare” and waking up her father in the middle of the night with shrieking night terrors, like she’s having f***ing Vietnam flashbacks. When I used that metaphor with my friends one of them could have pointed out that PTSD is a serious issue that doesn’t need to be trivialized in reference to some movie that i just didn’t like, but no one did because that wasn’t the point of the joke.

The truth is that comedy sometimes has to deal with serious subjects, not to trivialize them but to create hyperbole and give the audience an emotional reference point. Using this kind of subject matter is made difficult though because people always seem to think that they have the one exception to that rule. Everyone thinks that their one “thing” whether it’s rape, mental or physical illness, war, religion, or whatever is the one subject that’s simply too important to be made light of. It’s an understandable human impulse but its one we need to recognize in ourselves and fight because it’s selfish and hypocritical. Like the idea of “I like jokes, just when they’re on someone else”, the argument that topics can be discussed humorously as long as they’re not the ones that I care about is just childish and should be done away with.”

First of all, this comment is much less belligerent than a lot of troll droppings I’ve gotten, but I’m categorizing it as a troll dropping anyway, because there’s no sign of this person wanting to have a good faith discussion with me about the issue. This is just a three-paragraph lecture ‘splaining to me why I’m wrong.

Now let me point out the flaws in this argument.

1. When someone opens an argument with “what irks about feminists railing against rape jokes,” I know we’re already off to a bad start. The word “railing” plays into the “hysterical feminist” stereotype, and on top of that, the commenter is implying that I speak for all feminists, which I never claimed to do. My initial post was not the Official Feminist Viewpoint. It was my personal viewpoint.

2. “They argue that rape is the one subject that has no place in humor.” Logical fallacy alert! I blogged about rape jokes, ergo, I think rape is the only topic that has no place in humor. By that logic, if I blog about cannolis, it must mean that I don’t like cheesecake.

3. Re: the Bella/Edward PTSD joke. Well, that joke does trivialize PTSD. That may not have been the point of the joke, but that’s still what the joke does. “Intent” and “effect” are not the same thing.

Personally, I don’t have a problem with the joke because I read and watched Twilight, and Bella Swan is self-involved and overdramatic enough that she probably WOULD compare her breakup problems to a soldier suffering from PTSD (if she knew what that was). But my liking the joke doesn’t make the joke magically problem-free.

4. “Comedy has to deal with serious subjects.” Aaaaand now it’s time for Comedy 101 splainy-time, as though I don’t know the purpose of comedy. Yes, humor can be a great way to make connections with people and shine light on a serious subject. But I’ve seen far, far too many rape jokes where the punchline is nothing more sophisticated than, “And then she got raped! LOL!” Or, if the joke is about a male victim, “And then he got prison raped and now he’s a fag! LOL!”

Those aren’t nuanced jokes with a higher purpose, or that create an emotional reference point with an audience. That’s just laughing at rape victims. If you (the royal you) want to laugh at rape victims to prove some sort of point about “equal opportunity comedy,” hey, be my guest. You’re well within your rights to say whatever you want about anyone. Just don’t be surprised when other people think you’re an insensitive turd.

I have seen and heard jokes about rape that are more nuanced than a “LOL RAPE!” punchline, but as I discussed those at some length in my original post, I don’t feel the need to reiterate that point here.

5. “Using this kind of subject matter is made difficult though because people always seem to think that they have the one exception to that rule. Everyone thinks that their one ‘thing’ whether it’s rape, mental or physical illness, war, religion, or whatever is the one subject that’s simply too important to be made light of. It’s an understandable human impulse but its one we need to recognize in ourselves and fight because it’s selfish and hypocritical.”

Selfish and hypocritical. Okay. Let me process that for a minute.

People who make or defend rape jokes usually fall on the “everything should be a topic for comedy” argument. They claim that everything and everyone should be laughed at without exception. So they tell a rape  joke, and when someone doesn’t laugh, or speaks up and says, “I don’t think that’s funny. That’s insensitive,” the joke-teller will ‘splain to the objector that s/he has no sense of humor, is too sensitive, everything should be a topic for comedy, and why can’t you just take a joke?

In other words – it’s completely unacceptable and an imposition on free speech rights to tell people what they should or should not joke about, but it’s completely acceptable to tell people what they should and should not laugh about.

“You can’t tell me what to say, but I can tell you how to feel.”

As Bart Simpson would say, “The ironing is delicious.”

I haven’t even gotten into the reasons why rape jokes can be particularly damaging, but if you (the royal you) are interested in reading more, check this out.

Posted in Blog Posts | Tagged , , | 4 Comments

Blog PostsSketch Comedy Monday: “Kids Reenact the Oscar Nominees”

Did you miss the Academy Awards ceremony last night? Did you miss out on the chance to see most of the Best Picture nominees this year? Never fear! Here’s a handy way to catch up: kids reenacting the Oscar nominated-movies. For some reason, the embed codes aren’t working, so just follow them here:

http://www.jest.com/e/147108

http://www.jest.com/e/148256

My personal favorite is the one for The Tree of Life. “Hey, this is supposed to be my voiceover.” “A dinosaur!” But I also loved the ones for Hugo (“Quiet, this isn’t about you anymore”) and The Help (“Mmhmm, at least I made that white lady eat doo-doo, mmhmm.”)

I don’t have a lot of insightful, deconstructionist commentary about these sketches. They’re just funny and very cute, and very accurate portrayals of, at least, the 6 of the 9 Best Picture nominees that I’ve seen. (I still haven’t seen The Descendants, War Horse, or Extremely Long and Incredibly Cloying.)

But, if you want an even more comprehensive look at every Oscar-winning movie ever, check this out:


This video is two years old. I don’t care. It perfectly describes the typical movie that the Academy loves: stories about white men who find meaning in their lives through women, people of color, and people with disabilities – because those groups only live to give meaning to white men, donchaknow. The only way this trailer could be better is if they included a Holocaust reference or someone dying of a terminal illness.

Posted in Blog Posts | Tagged , | 4 Comments

ReviewsDeception and Role-Reversals: “Roxanne” vs. “The Truth About Cats and Dogs”

February is Deception Month for The Rom-Com Project, and I would be remiss if I didn’t talk about one of the original “deception in love” stories – Cyrano de Bergerac. Cyrano de Bergerac is a French play about a master swordsman who also happens to have an incredible wit, love of poetry and language, and a huge honkin’ schnozz. Cyrano has a much prettier but dim-witted solider in the army named Christian. Christian is in love with Cyrano’s distant cousin Roxane, and Cyrano also loves Roxane (cuz people got FREAKY back then). Christian woos Roxane using Cyrano’s words and then dies during the war. Roxane joins a convent, and when Cyrano comes to read her poetry, she realizes too late that he’s the man she’s really loved all along, but then he dies because he was injured in a war or something.

As you can see, I have a hard time taking this story seriously as a tragedy. Maybe it’s because my first encounter with the story was the version on Monsterpiece Theatre on Sesame Street:

Yeah, I can’t read or see the play without giggling a little because I keep thinking, “YOU SAID NOSE!” “But I am ze queen!” Fortunately for me, the writers of the 1987 film Roxanne and the writers of the 1996 film The Truth About Cats and Dogs had the good sense to adapt Cyrano de Bergerac into comedies. Both are modern re-tellings of the original story, but the second does a gender role-reversal with the three main parts. The results of both are pretty interesting, especially when watched back-to-back.

Continue reading

Posted in Reviews | Tagged , | 8 Comments