> Chapter1-Take1: August 2018

Happy 69th Birthday Richard Gere: Our Days of Heaven ... A story told in Richard Gere movies

Another hunky hottie who got his start in the 1970’s gets a little older today. Richard Gere turns 69, today August 31. But you know what? Hes still hot. 

Happy Birthday to An Officer and a Gentleman most of us would still be thrilled to spend our Nights in Rodanthe with. Just to hear him call me Pretty Woman would leave me quite Breathless. I wouldnt go Looking for Mr. Goodbar if he was around, Id never be Unfaithful and I sure as hell wouldnt be a Runaway Bride. Are you kidding me? 

No, Id travel Miles from Home to spend Autumn in New York with him. Hell, Id even go in summer, when its hot as Hades! Imagine sprawling on a blanket in Central Park with Richard Gere and listening to a Rhapsody in August! Gershwin, Rachmaninoff. It wouldn't matter who. It would be paradise, unreal, unearthly, something like Time Out of Mind.

Later we could go to The Cotton Club and if he asked Shall We Dance I’d say yes, yes, yes ... even though I’ve got a Primal Fear of humiliating myself on the dance floor. 

Of course that disappears after a drink or two—not enough to go Beyond the Limit and get pulled over at an Intersection for a DUI by Brooklyn’s Finest, just enough to relax, maybe even get into a little fantasy play. He could call me Amelia and I’d call him Mr. Jones, my American Gigolo. 

We could even pull some elaborate prank just for the thrill of it, maybe a Hoax on the guys working down in Arbitrage, with him pretending to be my Benefactor, some guy named Henry and Me, I’d pretend to be the owner of a rare manuscript called The Mothman Prophecies including the mythic Hachi: A Dog’s Tale in which a wise dog foretells the best investment opportunities. 

Like The Flock of fools they are, they’d fall for it, at least for awhile anyway. When they wised up and realized Hachi wasn’t actually any ordinary dog, he was The Jackal, they’d send out The Hunting Party on The Double looking for us but guess what? I’m Not There! I wouldn’t want to stay in town during The Bee Season anywayway too many smarty pant kids in town, spelling impossible words like Bloodbrothers. I mean is that really just one word or is it two?

And Richard? He’s already back in Hollywood meeting with Dr. T and the Women who run his fan clubcanceling his appointment for Botox and assuring all the women who adore him that he’ll never change, never dye his silver locks, even if they want him to make a sequel to Sommersby. Which let’s face it, they don’t. 

We have an arrangement to meet this coming winter at a certain Red Corner and then we’ll fly off to Chicago. The cold won’t bother me none either, cuz he has the Power to heat up the night. I’d even stay in a seedy Second Best Marigold Hotel with him, if he only asked cuz baby when it comes to, shall we say Internal Affairs, he shows No Mercy. And the time we spent together, from The First Knight on, would surely be Days of Heaven

In the Final Analysis, they havent all been the greatest movies in the world, there’ve been some clunkers mixed in with the classics but you dear Richard, have certainly been one of our most watchable stars. Thanks for all the magic moments. The Dinner invitation is always open.

Updated, originally posted 8/31/2015

Ryan Gosling in First Man: The Real Rocket Man

Ryan Gosling'First Man' premiere and Opening Ceremony, Arrivals, 75th Venice International Film Festival, Italy - 29 Aug 2018

Ryan Gosling stars as Neil Armstrong in First Man

First Man starring Ryan Gosling and Claire Foy opened the Venice Film Festival to a three-minute standing ovation.

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Ryan Gosling with costar Claire Foy and director Damien Chazelle

But don’t expect reviews of the film about the first man on the moon to be full of rocket ship metaphors. The film, from what I’m reading, doesn’t so much as blast off as it does immerse the audience into the pilot’s seat. 

And Gosling—you know he’s my If I was thirty years younger crush—doesn’t sound like he offers a soaring rendition of Neil Armstrong, blazing his way into history. Instead, according to David Rooney in the Hollywood Reporter, Gosling pays tribute to Armstrong’s true nature, he is quiet, introspective, serious and subdued.

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The real Ryan is a seriously funny guy who loves to laugh


My husband, cracking Ryan Gosling up on the set of Drive

Gosling downplays his natural charisma here to portray a man simply intent on doing a job, approaching it with the utmost seriousness and without ego. Armstrong shows zero willingness to consider what he’s doing in any self-aggrandizing historical context, his taciturn demeanor proving frustrating to the press, which wants uplifting soundbites. That makes the characterization almost antithetical to the standard Hollywood conception of a historically significant figure of this type. 
Instead, Gosling pulls you in on an intimate level, whether Armstrong is tackling life-or-death situations midmission or simply staring at the moon from his backyard, as if the distant image somehow holds the secret to a successful landing. It’s a subdued, almost self-effacing performance that nonetheless provides the drama with a commanding center.
The actor credits NASA and the astronaut’s family for help in creating his respectful rendition of a real American hero.

Ryan Gosling as Neil Armstrong: Based on Bio by James R. Hansen
“I’ve never had more help in my life on a film… Whether it was Neil’s sons or his late ex-wife Janet or Neil’s sister, his childhood friends… NASA opened the door to the facilities. Neil was a very famously introspective quiet humble person so the challenge was to honor that but also to create windows into what he might be or had been experiencing emotionally at the time.”
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“I thought what I should do was learn how to fly.” But not too long in, when the instructor told him to take the plane into a controlled stall, “I thought in that moment, ‘This is a terrible idea and there was a reason why Neil Armstrong was destined to be one of the greatest pilots and I’m not.’ In that moment, I realized something about Neil. It’s a certain kind of person that will get into a plane and intentionally push it to its breaking point for the sole purpose of pushing our aeronautics forward.”
We shared the first trailer back in June. Here’s trailer number two for First Man which opens October 12.

Ingrid Bergman: Five of My Favorite Ingrid Bergman Movie Moments

In an odd quirk of fate, the legendary Ingrid Bergman was born and died on the same day. Born August 29th, 1915 in Stockholm, Sweden, the iconic star died 67 years later in the Chelsea neighborhood of London, on August 29th, 1982. 

I love what director George Cukor said about Ingrid Bergman: “She never lost that innocent quality of wonder.” I think the director of Gaslight, the only film Cukor and Bergman made together, got it right.

Classic Clips

I found lovely moments from Indiscreet, Casablanca, Notorious, The Inn of the 6th Happiness, and an intense scene from Gaslight, before I happened upon this gorgeous homage video from RubyDee717. For me the only thing it needs is more Cary Grant!  

Ingrid Bergman Homage

Indiscreet 1958 

Casablanca 1943 

Notorious 1946

The Inn of the 6th Happiness FINALE 1958 

Gaslight 1944

I know, I know! There are so many fabulous Bergman movies. What fave of yours am I missing? 
For Whom the Bells Tolls? Spellbound? Cactus Flower? 
Give it to me straight in the comment section.

Sharp Objects: Gillian Flynn was NOT 'A Nice Little Girl'

Patricia Clarkson as Adora and Eliza Scanlen as Amma in Sharp Objects

Patricia Clarkson and Eliza Scanlen in Sharp Objects

We knew all along, those of us watching Sharp Objects, that both Adora and Amma were no good. It was out in the open, not a bit disguised. We were just waiting to see how it all came together.

Spoiler Alert

So even when Richard and Camille’s editor break into the house—White Knights to the rescue (some tropes never die)—and we see Adora arrested, we’re satisfied to see her taken away in handcuffs, locked up in prison, but vaguely uncomfortable. We know there’s more to the story. 

Adora’s a control freak. Amma has a mean streak, she’s a jealous girl. No surprise. They did it. Hateful females, we knew they were both capable of doing atrocious things. But what was the it they did? 

In the penultimate episode, we saw that it was Adora who killed Marian, poisoning her slowly over time. Adora the really sick one, afflicted with the psychological disorder Munchausen by Proxy. She killed Marian and will likely kill Camille the same way. It’s not so clear with Amma, she might have let her live, just making her sick from time to time had not Camille returned to Wind Gap.

But, as we asked last week, did Adora kill the other girls too? We couldn’t imagine she had the strength, we theorized she needed an assistant. Allan, we wondered? But he always seemed too weak to imagine him wrenching teeth from a dead girl’s body. Too clean and fastidious to get down in the dirt. To lie for Adora, oh yes, he does that, it’s easy for him to lie. His whole life and sexless marriage is a lie. 

The murder of those girls does take a real down and dirty killer. A truly depraved mind. We all knew it wasn’t John. It takes someone dark and nasty enough to relish getting down in the mud with the pigs. In our guts we always knew that had to be Amma. We just didn’t know how her guilt would be revealed. Those who turned away the instant the final credits rolled, missed it. Buried in the midst of blazing fast quick cuts, we see Amma and her friends attacking the murdered girls. 

Mean Girls, little bitches more vicious than the garden variety Mean Girls we know from Tina Fey’s film. Mean Girls as  Gillian Flynn makes them, just as she did in Gone Girl. Depraved, malicious, with zero remorse. 

Kind of makes you wonder how Flynn comes up with these ladies, eh? Here, out of the mouth of the babe herself, Gillian Flynn explains she was never a nice little girl, and why she wanted to write Sharp Objects. [from Medium: 7/17/2015]
I was not a nice little girl. My favorite summertime hobby was stunning ants and feeding them to spiders. My preferred indoor diversion was a game called Mean Aunt Rosie, in which I pretended to be a witchy caregiver and my cousins tried to escape me. Our most basic prop was one of those pink, plastic toy phones most little girls owned in the ‘80s. (Pretty girls love to talk on the phone!) Alas, it was always snatched from their fingers before they could call for help. (Mwahaha) In down time, I also enjoyed watching soft-core porn on scrambled cable channels. (Boob, bottom, static, static, boob!) And if one of my dolls started getting an attitude, I’d cut off her hair.

My point is not that I was an odd kid (although looking at this on paper now, I worry). Or that I was a bad kid (here’s where I tell you — for the sake of my loving parents — that I had enjoyed happy wonder years back in good old Kansas City). But these childhood rites of passage — the rough-housing, the precocious sexuality, the first bloom of power plays — really don’t make it into the oral history of most women. Men speak fondly of those strange bursts of childhood aggression, their disastrous immature sexuality. They have a vocabulary for sex and violence that women just don’t. Even as adults. I don’t recall any women talking with real pleasure about masturbating or orgasms until Sex and the City offered its clever, cutie-pie spin, presenting the phrases to us in a pre-approved package with a polka-dot bow. And we still don’t discuss our own violence. We devour the news about Susan Smith or Andrea Yates — women who drowned their children — but we demand these stories be rendered palatable. We want somber asides on postpartum depression or a story about the Man Who Made Her Do It. But there’s an ignored resonance. I think women like to read about murderous mothers and lost little girls because it’s our only mainstream outlet to even begin discussing female violence on a personal level. Female violence is a specific brand of ferocity. It’s invasive. A girlfight is all teeth and hair, spit and nails — a much more fearsome thing to watch than two dudes clobbering each other. And the mental violence is positively gory. Women entwine. Some of the most disturbing, sick relationships I’ve witnessed are between long-time friends, and especially mothers and daughters. Innuendo, backspin, false encouragement, punishing withdrawal, sexual jealousy, garden-variety jealousy — watching women go to work on each other is a horrific bit of pageantry that can stretch on for years.
Libraries are filled with stories on generations of brutal men, trapped in a cycle of aggression. I wanted to write about the violence of women.
So I did. I wrote a dark, dark book. A book with a narrator who drinks too much, screws too much, and has a long history of slicing words into herself. With a mother who’s the definition of toxic, and a thirteen-year-old half-sister with a finely honed bartering system for drugs, sex, control. In a small, disturbed town, in which two little girls are murdered. It’s not a particularly flattering portrait of women, which is fine by me. Isn’t it time to acknowledge the ugly side? I’ve grown quite weary of the spunky heroines, brave rape victims, soul-searching fashionistas that stock so many books. I particularly mourn the lack of female villains — good, potent female villains. Not ill-tempered women who scheme about landing good men and better shoes (as if we had nothing more interesting to war over), not chilly WASP mothers (emotionally distant isn’t necessarily evil), not soapy vixens (merely bitchy doesn’t qualify either). I’m talking violent, wicked women. Scary women. Don’t tell me you don’t know some. The point is, women have spent so many years girl-powering ourselves — to the point of almost parodic encouragement — we’ve left no room to acknowledge our dark side. Dark sides are important. They should be nurtured like nasty black orchids. So Sharp Objects is my creepy little bouquet.
There are no good women in Sharp Objects. Camille, my narrator of whom I’m obsessively fond — she’s witty, self-aware, and buoyant — is the closest to good. And she uses booze, sex, and scissors to get through the day. As I wrote about Camille, I was pondering how a girl who’s been raised to please — in an unpleasable, poisonous home — would grow up. How she’d react to a mother who was at once both physically insidious — a constantly poking, prodding woman — and utterly unnurturing. What kind of violence that might foster in this girl. A looping one, I realized. Camille has a craving to carve herself up. The cutter is both victimizer and victim — the bully and the sufferer. But the act includes healing: One has to cleanse and bandage the wounds afterward. Hurt, suffer, heal, hurt, suffer, heal. It’s a trinity of violence, all bound up in one person. It’s the loneliest act in the world. Camille is an inherently lonely human being.
Camille’s mother was inspired by my love of Brothers Grimm as a child: Screw the blonde, gentle heroines, it was those wicked queens and evil stepmothers I adored. (“The Juniper Tree” was well-thumbed.) So that’s what Camille’s mother is: She’s a lovely, regal woman filled with needles. She’s a consumer of others’ pain. If Camille’s violence is self-contained, her mother’s is the definition of self-centered. As for the murdered little girls, I didn’t want these doomed girls to be just flashes of dimples and hair ribbons. That would be too easy. (Poe said, “The death of a beautiful woman is a poetic thing,” and the death of a pretty girl is apparently more so — considering the current media madness surrounding JonBenet and other lost girls.) The murdered girls of Sharp Objects aren’t doll-like victims; they have vicious streaks themselves; they were fighters. Camille’s half-sister, Amma, also has a temper. Unlike Camille, her haunted home didn’t turn her aggression inward, but shot it out in the grabbiest, flashiest way.
When I think of the women of Sharp Objects, I think of a 1948 photo by Frederick Sommer, called Livia (the name of the murderous Roman empress). It’s a black-and-white shot of a young girl with all the accoutrements of innocence: Blonde braids, lace-edged dress. But her eyes are startlingly intelligent, her lips stubborn, her whole face mischievous — perhaps malevolent. It’s one of my favorite photos in the world, a reminder that girls — and women — can be bad.
 Here's that favorite photo of Flynn’s. 
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Dark enough for you?

Domhnall Gleeson Reads The Little Stranger #book2movie

The Little Stranger stars Domhnall Gleeson, Ruth Wilson, Charlotte Rampling & Will Poulter

The Little Strangers author, Sarah Waters, has said she didn’t set out to write a ghost story and I believe it. There is so much more to the book than the gothic horror tale and what amounts to a haunted house. 

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There is the house and Dr. Faraday’s (Domhnall Gleeson) intense longing for the house and all it represents. An obsession which leaks into his feelings for Carolyn Ayres (Ruth Wilson) the young mistress of the manor. 

Have a listen to Domhnall Gleeson reading the first chapter of the novel and you’ll see what I mean. You still have time to read the book before you see the movie. Or follow up your movie viewing with the book. I highly recommend it!

Gleeson, Ruth Wilson, Charlotte Rampling and Will Poulter star in the big screen version opening August 31st. 

Watch the trailer for The Little Stranger.

Savages starring Blake Lively: Based on the book by Don Winslow #SaturdayMatinee #Book2movie

Blake Lively, with Taylor Kitsch and Aaron Taylor-Johnson In Savages directed by Oliver Stone, based on the book by Don Winslow

 Blake Lively with Taylor Kitsch and Aaron Taylor-Johnson in Savages

I haven’t paid a whole lot of attention to Blake Lively on this blog, but it is the Gossip Girl’s birthday today, 8/25, and she is married to very big deal Ryan Reynolds and she does have a movie out shortly—A Simple Favor on September 13th—based on the book by Darcy Bell. She co-stars Anna Kendrick and Crazy Rich Asians leading man Henry Golding. Lively has also been attached to the adaptation of Liane Moriarty’s The Husband’s Secret making it a good bet she’ll be around a good long while.

So why not make Savages based on the book by Don Winslow today’s Saturday Matinee?  Lively starred as the shared girlfriend of Aaron Taylor-Johnson, Taylor Kitsch, and while critics mostly dissed the Oliver North film as pure pulp, that turn is probably what catapulted her out of an acting career on the small screen level. 

Besides the boys, Lively is joined onscreen by Benicio Del Toro, John Travolta, Salma Hayek & Emile Hirsch and the cinematography highlighting Southern California and Mexico is notable.

You can stream Savages on YouTube, GooglePlay, Vudu, Amazon Prime and iTunes.

Go ahead, watch the trailer. It’s a little violent for me but what do you think? I’m all ears.

Summer Night, Winter Moon Heading to the Screen #book2movie

Book cover for Summer Night, Winter Moon by Jane Huxley

Summer Night, Winter Moon by Jane Huxley

Scrolling around this morning I discovered it was Stephen Fry’s birthday, at which point I wondered what the actor was up to. At 60, with over 150 credits to his name and a handful of projects in the hopper, Fry is always up to something. Best known for V for Vendetta, Gosford Park and Hitchhiker's Guide to the Galaxy, this project in preproduction caught my eye. Set in London and the Isle of Capri, I’m adding the 2014 mystery Summer Night, Winter Moon by Jane Huxley to my TBR pile. 

Antonia was last seen in Regent's Park walking her Jack Russell terrier. The remains of a female body have been recovered from Regent's Canal, and both her husband and his best friend are suspects in what increasingly appears to be a murder. The fast-moving story travels backwards in time. Exploration of the mystery of Antonia's fate follows twists and turns as hair-raising as the roads on the mountainous isle of Capri. Jane Huxley, detective of the human psyche, ushers readers to the astonishing ending, proving along the way that the deepest mystery of all is that of the soul torn between desire and loyalty. Jane Huxley once again shines a light on what one reviewer of her previous work called "the pampered indolence of F. Scott Fitzgerald's The Beautiful and the Damned". She keeps up a brisk pace, both in the elegant prose and the suspense instilled from the opening pages, affording readers a voyeuristic thrill along with keen psychological insight.

Fry plays Rufus in the adaptation, a supporting character, which is often the case with Fry’s career. The big man with the large personality is a bestie of Emma Thompson who calls him “90 percent gay and 10 percent other.’’

Stephen Fry: On Depression

The reality of that big personality is Fry has a serious mood disorder. With manic depression as his personal demon, his very big ups can also be followed by some very dark downs. So deeply serious that Fry attempted suicide back in 2012. I think what he has to say on the subject is important.
I am the victim of my own moods, more than most people are perhaps, in as much as I have a condition which requires me to take medication so that I don't get either too hyper or too depressed to the point of suicide. I would go as far as to tell you that I attempted it last year, so I'm not always happy - this is the first time I've said this in public, but I might as well. I'm president of Mind, and the whole point in my role, as I see it, is not to be shy and forthcoming about the morbidity and genuine nature of the likelihood of death amongst people with certain mood disorders. It was a close run thing. I took a huge number of pills and a huge [amount] of vodka and the mixture of them made my body convulse so much that I broke four ribs, but I was still unconscious. And, fortunately, the producer I was filming with at the time came into the hotel room and I was found in a sort of unconscious state and taken back to England and looked after. There is no 'why', it's not the right question. There's no reason. If there were a reason for it, you could reason someone out of it, and you could tell them why they shouldn't take their own life.

Sincere best wishes to Fry to have a happy birthday. And a reminder to those of you battling your own demons, to reach out for help. Here in the US, you can reach someone to talk to at the National Suicide Prevention hotline at  1-800-273-8255.

Happy Birthday Alexandre Desplat: Film Composer Extraordinaire

Alexandre Desplat: Composer Extraordinaire

My favorite film composer Alexandre Desplat celebrates his birthday today. What makes the Frenchman my 'favorite' film composer? His Oscar-winning scores for Shape of Water and The Grand Budapest Hotel,  7 additional Oscar-nominated scores: Imitation Game, Philomena, Argo, Isles of Dogs, Unbroken, Philomena, The Kings Speech, Fantastic Mr. Fox, The Curious Case of Benjamin Button and The Queen. This year's likely nominee, Isle of Dogs. Add in the fact that Desplat is French and speaks in beautifully accented English puts him at the top of my list. And makes the interview below more than worth listening to.

I'm hoping some of you share my fascination with those stars who work behind the scenes to make our favorite films, just that, our favorite films. If so, I think you'll enjoy this look at Desplat sharing his approach to composing for the cinema. He's incredibly prolific; as he says in the video chat, composing music is ALL he does. The list of his credits which also includes The Monument Men, Zero Dark Thirty, The Light Between Oceans, Unbroken and The Danish Girl is so diverse and exhaustive I can't even begin to list them all, instead here's the link to his imdb.com page

If you're not familiar with his work check out this beautiful sampling of his music created by a fan. 

Crazy Rich Asians: Breaking Past Barriers and Stereotypes #book2movie

Henry Golding and Constance Wu on the Red Carpet with Kevin Kwan, the author of Crazy Rich Asians

Henry Golding and Constance Wu on the Red Carpet with Kevin Kwan, the author of Crazy Rich Asians

I haven’t seen a bad Crazy Rich Asians review. My book-devouring sister-in-law enjoyed both the book and the movie. In fact, everyone I know who has seen the movie based on Kevin Kwan’s book loves the film, loves its phrenetic rom-com humor. Now that Movie Pass has put it on the list of qualifying movies at my local, I have to get out and see it myself this week. I’m missing all the fun!

Crazy Rich Asians had a glitzy premiere at the original Grauman's Chinese Theater 

(from my Instagram account)

Part of the reason the movie’s success is getting so much buzz is because Hollywood is only now getting hip to the fact that Americans are ready, really ready, to see Asian faces onscreen in leading film roles. The last time we talked about this adaptation we noted the fact that there are some people who are disappointed that the lead, Henry Golding, is only half-Asian.

We’ve also learned that at one point, author Kevin Kwan was approached with a screen rights option offered on the contingency that the main part of Rachel would be re-written as a white woman! Kevin Kwan didn't respond but told Terry Gross in a Fresh Air interview that he wasn’t surprised:
This was back in 2013. So this was way before the whole Hollywood whitewashing movement began, before all the waves of outrage that happened — justifiably so, with the casting of Scarlett Johansson in Ghost in the Shell, things like that. So it was early days yet, and I knew that this movie would be a challenge because I knew it needed an all-Asian cast, and so I knew that a lot of traditional Hollywood would find it to be not a viable project, and so that’s why I chose to go the team that I did. We thought we would really produce this outside of the studio system and it would be an independent film. … It’s taken on a whole other life that I never dreamed was possible.

You can listen to the entire interview with author Kevin Kwan right here:

Sharp Objects: Adora's Brand of Motherly Love

A Case of Munchausen by Proxy: Patricia Clarke as Adora in Sharp Objects

Last night’s penultimate episode of Sharp Objects answered a lot of questions. And posed a few more. 

Clearly Adora killed Marian. The Munchausen by Proxy diagnosis seems so clear and obvious now, Adora mixer of drinks, the ultimate controlling bitch, mixed up a poisonous brew to bring her daughter Marian to her death. I wish we’d had a few more clues. Or did I just miss them?

In retrospect, one might say Gillian Flynn gave us a hint in naming Adora. As I shared in a previous post, the name Adora means Glory and in Munchausen by Proxy, the individual—often the mother—brings attention— ie,  glory—to themselves by being seen as heroic and self-sacrificing in looking after the very person they’ve made ill. It’s a toxic psychological syndrome any fan of SVU, True Detective or any number of television crime shows is familiar with. 

But what about the other murdered girls? We know from John that Adora was close to both Ann and Natalie. That she wouldn’t give up on them. But where then, does the teeth-pulling fit in? How could Adora, who wimps out at a cut from the thorn of a rose, have done that? Poisoning someone slowly, measuring out their death by the spoonful over time is one thing but the kind of deaths those girls faced couldn't be accomplished by Adora without help.

Is her creepy husband—Do you need me for anything more tonight, dear?—her assistant? He seems so inept, failing at getting Camille to move the car, a task Adora has assigned him. In response to her questioning, his ineffective response that she was always better with the girls. Does that include all the girls? All the dead girls? Would he be up to this task?

Is Vickery, her confidante, her helper? That seems unlikely. He may have helped cover up the killing of her daughter but these murders are on a different scale.

Amma (Eliza Scanlen) looks on as Adora (Patricia Clarkson) and Camille (Amy Adams) talk

Is it Amma? We’ve seen how jealous she can get. Envious of Camille giving Richard, the detective, her attention. A green-eyed monster when her mother actually pays attention to Camille—for a change—at the dress shop. Was she so jealous of Adora's devotion to the girls that she killed them? That seems so obvious that I would be surprised if it turned out to be true.

At the same time, I’m mystified that Amma, so conniving herself, would submit to Adora’s manipulations. Yet when she refuses to take her medicine and submit to her mother’s ministrations, Adora calmly begins to take her dollhouse away, emotionally blackmailing her with the removal of her care, her motherly love and Amma caves, climbing back into bed. I’m not sure I buy the girl being so susceptible to Adora’s tricks, especially as we’ve heard Amma say her mother is so easy to play.

So you don’t need me, huh? Patricia Clarkson and Eliza Scanlen

And if Adora killed not only Marion, (and possibly both Ann and Natalie) and is now on her way to killing Amma, how did Camille escape what would seem a likely fate?

A lack of motherly love

Adora gave us the answer to this question herself when she told Camille ‘I never loved you’. That lack of motherly love, while hurtful on its surface, meant Camille was never the object of Adora’s attention. We’ve seen evidence of that, of Adora’s uncaring attitude toward Camille time after time throughout the show: Camille’s flashbacks to Adora inviting Marion into her room, shutting the door in her face. Adora posing with Marion in the photo accompanying the article about the house, leaving Camille out. Hurtful, hateful, unmotherly behavior. 

Camille: Scarred for life? Or saved.

That lack of motherly love may have scarred Camille. It also seems to have saved her.

What are your thoughts? I’m all ears.

Happy Birthday Robert Redford: Aging Gracefully on Screen

If you read me with any frequency you may know I have a long-standing crush on Robert Redford. He is, in fact, the only actor I've ever written a fan letter to. That was back in the 70's. Humor me, then, for wishing the iconic star a Happy 82nd Birthday. 82! How the hell did that hunky young hottie turn into an 82-year-old man? Especially when I still feel like I'm that 20 years old girl writing him a fan letter! 

Here's how ...  in pictures that roughly trace Robert Redford's fifty-five-plus year career, we can see Redford mature and age with each film or television part. I haven't included all 78 of the roles that make up his CV, some years he made more than one film, some years, he made none. Some are classics, like Butch Cassidy & the Sundance Kid and All the Presidents Men. Some are crap like The Electric Horseman and The Clearing. The number below each image indicates Redford's age at the time of release—beginning with his first onscreen role, at age 23 ... [warning: this is gonna be a long post!] Watch him grow old along with me? It happens to us all, sooner or later.

Jimmy Coleman
Maverick "Iron Hand" 1960

Baldwin Lane
The Naked City "Tombstone for a Derelict" 1961

Harold Beldon
Twilight Zone "Nothing in the Dark" 1962

David Chesterman
The Alfred Hitchcock Hour "A Tangled Web" 1963

Matthew Cordell
The Virginian "The Evil that Men Do" 1963

Captain Hank Wilson
Situation Hopeless but Not Serious 1965

Wade Lewis
Inside Daisy Clover 1966 

Owen Legate
This Property is Condemned 1966

Paul Bratter Barefoot in the Park 1967

Butch Cassidy and the Sundance Kid 1969

Halsy Knox
Little Fauss and Big Halsy 1970

Bill McKay
The Candidate 1972

The Way We Were 1973

Johnny Hooker
The Sting 1973

Jay Gatsby
The Great Gatsby 1974

Joseph Turner
Three Days of the Condor 1975

Bob Woodward
All the President's Men 1976

Major Cook
A Bridge Too Far  1977

The Electric Horseman  1979

Henry Brubaker
Brubaker  1980

Ray Hobbs
The Natural  1984

Out of Africa  1985

Tom Logan
Legal Eagles  1986

Jack Weil
Havana  1991

Marty Bishop
Sneakers  1992

John Gage
Indecent Proposal  1993

Warren Justice
Up Close and Personal  1996

Tom Booker
The Horse Whisperer  1998

Norman Muir
Spy Game  2001

Wayne Hayes
The Clearing  2004

Einar Gilkyson
An Unfinished Life  2005

Professor Stephen Malley
Lions for Lambs  2007

Jim Grant
The Company You Keep  2012

Our Man
All is Lost  2013

Alexander Pierce
Captain America: The Winter Soldier  2014

Bill Bryson
A Walk in the Woods  2015

Dan Rather
Truth  2015

Our Souls at Night 2017

Forrest Tucker
The Old Man with the Gun 2018
Redford announces this is his last onscreen role.

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