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Classic movies for phobics

Orphaning Carrie Killed And Just Like That

02/17/2022 by leah@carygrantwonteatyou.com Leave a Comment

Sex and the City had this odd way of pretending its heroines were parentless. Sure, there was a reference or two, and that lovely episode about Miranda dealing with her mother’s death. But overall, the show just pretended the women had no moms or dads. For six seasons and two movies, the lack of parents enabled the show to stick with sunnier, lighter fare, favoring romance over family drama.

And then the reboot came, presenting the show’s writers with a conundrum: how do you talk about women in their fifties—especially childfree ones—without dealing with aging parents?

Unfortunately, the writers’ solution was to conflate the fifties and eighties, giving the ladies hip replacements and their husbands hearing issues and farmers’-market-forgetfulness. Even the elderly parents of the new characters are pressuring their kids to get married or use their time differently—in other words, things parents of 30-year-olds do.

And how grim these writers make aging seem! Look how much more measured—and funny—Grace and Frankie is in tackling the same ground—and for much older women.

What Carrie, Miranda, and Charlotte would really be doing if they were in their fifties is worrying about their parents’ minds, limbs, and ailments. And for those of us who have been living with the slow-burn terror that our parents will catch COVID—or grieving the loss of those who died of it—the fear of parental aging is what’s keeping us up (not partying neighbors or mysterious dinging sounds). That’s why the erasure of our worry from the experience of 50-year-old women is infuriating in a franchise that used to get us.

What important things this show could have covered about what single, childfree women face in their fifties! What if Carrie’s married siblings with children had expected her to move home to take care of their sick mother or father? How would she have dealt with that as a single woman whom they assumed had time they didn’t?

The parentless state of our heroines also killed so many avenues for humor, like mothers’ attempts to comfort their daughters’ PMS worsening with age by saying, “Don’t worry. You don’t have long to worry about that.” (Just my mom? OK, the cheese stands alone.) Or dads bluffly cheering daughters after bad Bumble dates by saying, “Aren’t you about ready for Our Time? That’s much better.”

Of course, those weren’t the only humorous avenues And Just Like That neglected. Exactly how much did your frugal friend invest in wrinkle cream once she spotted Zoom’s skill for highlighting neck skin sagging? What collection of ring lights has your single buddy amassed to ensure she looks young for those selfies of her breasts for Hinge dates?

And the thing is, your friends in their 50s will confess these acts openly to strangers. That’s one of the beauties of aging: you don’t care what others think. We are ALL Samantha now. I remember the joy of canceling plans for the first time because I didn’t feel like taking a shower. Or the admission that yes, I was watching Lifetime reruns on a Saturday night, or organizing my earrings instead of going to a party. How much I would have loved Carrie dropping by Miranda’s because the latter couldn’t tear herself away from a marathon binging of Tiger King! (An update on the rabbit episode. LOL.) Remember when Carrie struggled to get her friends together? Now THAT’s a struggle for your 50s.

A podcast for Carrie never made much sense to me either—not for a woman who loves being seen (especially not a 90s-era radio show masquerading as a podcast). What does our former sex columnist think of Love Is Blind? Or 90-Day Fiancé? What if she hosted some cheesy reality dating show, like Love Island? That could have been so funny, unlike Che’s humorless standup.

And what silly notions about being woke these AJLT writers have! Is this an after-school special from 1985? What women in their fifties are suddenly realizing they have no non-white friends? I know these characters aren’t as reflective as they could be, but I do believe they have eyes.

What would these women be facing? Well, these characters might be worrying about terminology they use when it comes to race, ethnicity, and gender. Miranda would not have blundered as much as she did in class. But I could see her using a term from five years ago. Or Charlotte, Carrie, or Miranda could be chided by BIPOC friends for a clueless privilege moment. If AJLT wanted to address race in a more organic way, why not have Lily recovering from the trauma of the racism she dealt with during COVID, or Charlotte appalled by other parents fighting critical race theory?

(About midway through the series, I began to wonder whether Michael Patrick King was paying us all back for calling Carrie an unlikeable narcissist by making Charlotte and Miranda so much worse. Why else reinvent history, and make Carrie suddenly the most tolerant and understanding of the bunch? You think Miranda should have been the star? he might have said. I’ll show you…..)

I was, of course, happy to see Miranda, who is played by a public-school advocate, re-inventing her life to do something she found meaningful. That’s what women in their 50s do: Try to find new purpose in their lives. But AJLT had her dump that idealism to play fangirl to a bad comic (how like Carrie that decision was). Che was a missed opportunity, of course. I would have liked Carrie recognizing in Che’s struggles some similarities between what she had dealt with in feeling isolated as a single woman. Their experiences would never be quite the same. But empathy is born of comparison. Carrie didn’t have to fully get it. But she could have begun….

I didn’t expect much of the reboot, I admit, despite my love for Sex and the City. The movies, after all, had already done damage. Samantha’s absence, I knew, would do more. Still, I didn’t expect to be this disappointed. I’m younger than these women, but they always echoed some measure of my experience—and some measure of my future.

Until now.

Parents couldn’t have saved And Just Like That entirely. But it would have been a start.

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Posted in: 1990-current films, Anti-Romance films, Childfree, Comedies (film), Feminism, Humor, Romantic Comedies (film), TV & Pop Culture Tagged: And Just Like That, childfree women, middle-aged women and TV, Sex and the City

5 Awful Romances We’re Supposed to Like

02/13/2022 by leah@carygrantwonteatyou.com 4 Comments
  1. Romeo & Juliet. This guy was in love with another gal last week. This is not a romance for the ages; this is a guy who can’t handle being without a girlfriend. Juliet, why didn’t you hold out for something better?
  2. The Teens of Say Anything. Diane (Ione Skye), I’m sure you’re going to have a great time on your British adventure while your boyfriend, Lloyd Dobler (John Cusack), is hanging out in your apartment watching kickboxing videos all day. I know your daddy, the embezzler, set the bar for men low, but come on.
  3. The Cheaters of Something Borrowed. Hollywood has such a low opinion of us really. We’re asked to get behind Rachel (Ginnifer Goodwin), who had sex with her best friend’s fiancé, Dex (Colin Egglesfield). We’re supposed to root for the cheaters’ love to prevail because the betrayed friend, Darcy (Kate Hudson), is vain, and Dex used to like Rachel. Ummm, what??
  4. Heathcliff & Catherine of Wuthering Heights. Ahhh, the sociopath and the narcissist. Now that’s a coupling that we all want to see, right?
  5. The Unnamed Heroine & Maxim de Winter of Rebecca. So, when you find out your husband killed his ex in a rage, the proper reaction is NOT to feel better (because now you know he didn’t love her). That makes you almost as creepy as he is. I’ve never rooted so hard for a (dead) villain of a story.

Those are five of the least ideal couples that novels, plays, and movies would have us celebrate. I can come up with ten more without trying. Which couples do you find the most laughably awful?

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Posted in: 1980s films, 1990-current films, Anti-Romance films, Comedies (film), Drama (film), Romance (films), Romantic Comedies (film) Tagged: bad couples, Lloyd Dobler, overrated couples, Rebecca, Romeo and Juliet, Say Anything, Something Borrowed, Wuthering Heights

Mae West: The Unchanging Heroine

10/20/2021 by leah@carygrantwonteatyou.com 12 Comments

I grew up resenting a lot of the rom-com fare on television and film. Always, it felt, the woman had to change to find love. Sandy in Grease was just the start: Learn to strut. Show that cleavage. Pull your hair out of the bun! Relax! Be feminine! Learn to bake or something.

Maybe that’s why I love Mae West so much: In her films, she’s the only one who never has to change. Anyone who doesn’t get her? They better start, if they want Mae’s company. (And they ALWAYS want Mae’s company.)

Mae’s unrepentant, very human, hilarious heroines are perfect, just as they are. Cleo from Goin’ to Town (1935) is just one example.

Cleo decides she wants a particular upper-crust guy. After her (literal) lassoing of him doesn’t win him, she decides to change herself over into a classy lady. Which pretty much means she convinces everyone she already is one.

**Some spoilers**

Oh sure, Cleo picks up some new hobbies: horse betting, husband collecting, and opera performances. But Cleo is Cleo. When she plots her rise, we all know she’s going to get there.

Favorite Moments

The fashionable ladies visit her after her fashionable marriage. Trying to insult her, they press her about her lineage:

Socialite: “Speaking of relatives, Mrs. Colton, have your ancestors ever been traced?”

Cleo: “Well, yes, but they were too smart, they couldn’t catch ’em.”

She says this, mind you, while intent on cracking nuts.

And, of course, who can forget the scene when Cleo plays Delilah? (Her description of Delilah is “one lady barber who made good.”)

While she sings in a high register (therefore, I assume, proving she has the pedigree to pull off opera), she does her va-voom hip shimmies between notes, proving that she’ll always be a dance hall girl.

And in a Mae West movie? There’s nothing better to be.

I’ve written before about how Mae can always pull me out of a bad mood. That’s why I chose to re-watch one of her films for the Classic Movie Blog Association’s fall blogathon, Laughter Is the Best Medicine. Don’t miss the other entries from my talented peers!

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Posted in: 1930s films, Blogathons, Childfree, Comedies (film), Romantic Comedies (film), Uncategorized Tagged: best rom-coms, class comedies, comedies, Goin to Town (1935), Mae West

Talking about Clerks

09/23/2021 by leah@carygrantwonteatyou.com Leave a Comment

My friends Brian Wilkins and Mike Gutierrez and I chat about that classic cult film and workplace comedy. Listen in!

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Posted in: 1990-current films, Comedies (film), Uncategorized Tagged: black and white modern films, indie films, Kevin Smith films, workplace comedies

Reality Bites: Podcast Episode

09/20/2021 by leah@carygrantwonteatyou.com Leave a Comment
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Posted in: 1990-current films, Uncategorized Tagged: Ben Stiller director, Ethan Hawke, Janeane Garofalo, Reality Bites, Winona Ryder

90s Films

09/13/2021 by leah@carygrantwonteatyou.com Leave a Comment

Have you ever wondered why Winona Ryder’s character in Reality Bites has friends? Or why Julia Delpy doesn’t have legions of men following her off the train in Before Sunrise? Or why every person in customer service doesn’t watch Clerks? So have we. Join my friends’ and me for our second series on our podcast, Nobody Knows Anything.

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Posted in: 1990-current films, Comedies (film), Drama (film), Oscars, Romance (films), Romantic Comedies (film), Uncategorized Tagged: 90s, Before Sunrise, Bottle Rocket, Clerks, coming of age films, Reality Bites, Romeo + Juliet

Bette Davis Crushes Leslie Howard

04/04/2021 by leah@carygrantwonteatyou.com 7 Comments

I read Of Human Bondage as a preteen/teen and was moved by the story of a would-be artist who eventually discovered that a simpler life of helping others was his route to happiness. As a wannabe artist myself, Philip’s journey was meaningful, even enlightening. His time practicing medicine for a poor community won the respect of his patients and his gruff superior—even crushed the snootiness that had marred the rest of his life. While Philip’s extreme sensitivity (related to his club foot) was what drew me as an angsty young girl, it wasn’t his only trait. He was funny, self-aware, compassionate—a fully rounded character.

What Hollywood would do to William Somerset Maugham’s reflective character I had a right to fear, especially since the 1934 version was known as Bette Davis’s breakout role. She played the extremely unlikable Mildred, a mean-spirited waitress who detours Philip on his journey. Mildred traps him in his lust for her, but never pretends to like or be faithful to him. She sucks away his time, energy, and money, and he’s too weak to resist.

She is, in short, one of Maugham’s complex female characters: fascinating, headstrong, real—the kind of role actresses are craving now, almost a hundred years later. And with an ambitious young Davis at the helm, sick of her milksop roles and ready for something meaty, what chance did Leslie Howard have for any attention (his starring role notwithstanding)?

No one can stand up to Davis in full chewing-the-scenery mode.

She doesn’t nail the accent, but Davis does fully personify this selfish woman, particularly her flirtatious nature and prickly pride. She shows how Mildred’s self-interest–her primary trait–can’t stand up to her destructive passions. Except for her trademark burning magnetism, Davis is nearly unrecognizable in the role: she BECOMES Mildred.

She famously only got a write-in nomination that year, but won the Oscar the next, most say in compensation for the MIldred loss. Bette’s (Cockney?) accent is regrettable, but everything else about her characterization is perfect.

I’m not sure if writer Lester Cohen decided the movie would be the Philip-Mildred show, given that part of the book’s high drama, or if director John Cromwell saw what he had in Davis and switched it accordingly. But poor Philip’s spiritual journey is reduced to a few scenes, with conversations with Mildred and his later love Sally (Frances Dee) meant to explain his transformation.

Basically, fans of the book can enjoy the fine sensitivity of Philip on screen, which Howard carries off. But Philip’s growing devotion to his career is off the screen. Somerset Maugham was a genius at empathy, and his semi-autobiographical masterpiece shows how Philip’s extreme sensitivity, such a burden as a child, led to his success and happiness as a humble doctor (just as Maugham’s sensitivity to his stutter may have made him a great writer). That theme is totally lost in the don’t-date-women-like-Mildred messaging of the film.

So as far as capturing the book, this film fails. But the movie does nail William Somerset Maugham’s trend of giving female characters their due. I’ve written before about how frequently actresses in his stories are nominated for (and often win) Oscars once his films are screened—including Annette Bening, who should have won for Being Julia.

Look at Davis: wins her Oscar for Dangerous because of her performance as Mildred, then gets nominated for The Letter, another of Maugham’s most famous stories, just six years later.

If that isn’t an advertisement for the continual reading of William Somerset Maugham’s body of work, I don’t know what is. And that–in my eyes–is what makes for a successful film adaptation.

Check out Silver Screen Classics‘s Classic Literature on Film blogathon for more adaptations of your favorite books!

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Posted in: 1930s films, Anti-Romance films, Blogathons, Drama (film), Feminism, Uncategorized Tagged: Bette Davis, great female roles, Leslie Howard, Of Human Bondage, William Somerset Maugham

They Live: Best Conspiracy Film?

03/31/2021 by leah@carygrantwonteatyou.com Leave a Comment

Join my friends’ and my new podcast! Tomorrow we feature the gum-chewing, sunglass-wearing Roddy Piper as he breaks through all the conventions of conspiracy films we’ve discussed so far. Don’t miss it.

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Posted in: 1980s films, Action & Sports Films, Anti-Romance films, Comedies (film), Drama (film), Humor, Random Tagged: best conspiracy films, John Carpenter, Nobody Knows Anything, podcast, Roddy Piper, They Live

New Podcast on Conspiracy Films!

03/18/2021 by leah@carygrantwonteatyou.com Leave a Comment

Join my friends and me as we talk about conspiracy films in this conspiracy-laden moment in history! It’s such fun talking film with my witty partners, Michael Keenan Gutierrez and Brian Wilkins. And I think you’ll enjoy our strange journey–from an early Hitchcock to the present moment. The 39 Steps and Dr. Strangelove start us off. Check out our podcast, Nobody Knows Anything, or go directly to Spotify or Apple Podcasts to find us. We’ll be posting more in the coming days on our Twitter and Instagram accounts. We begin by thinking about the important things, like how attractive you have to be in order to seduce an international spy with haddock. (Answer: Robert-Donat-with-a-mustache attractive.) For excerpts from our conversation, click below!

Here’s a clip of our 39 Steps talk!
And here’s a clip of our Dr. Strangelove chat.
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Posted in: 1930s films, 1960s films, 1970s films, 1980s films, 1990-current films, Uncategorized Tagged: Bourne Identity, Captain America: The Winter Soldier, conspiracy movies, Dr. Strangelove, film reviews, films, podcast, The 39 Steps, They Live, Three Days of the Condor

The Dude Versus Hitchcock

02/13/2021 by leah@carygrantwonteatyou.com 4 Comments

So the devious, sexy spy of North by Northwest, Eve Kendall (Eva Marie Saint), is trying to elude dupe Roger Thornhill (Cary Grant). She gets a secret call from her evil lover, Phillip Vandamm (James Mason), while she and Roger are together and writes down an address for their rendezvous.

She carefully tears off the paper with the address, places it in her purse, and then—ready for this?—walks away without the notepad.

There’s that notepad, just a pencil trick away from exposing that address. Will she remember to bring it with her? Roger is watching!

Alas. She walks away.

Will she remember before she sneaks away? Of course, right? It was just a momentary oversight, her wits clouded by the sexiness of her target, Roger.

We see her pick up several other things.

(Oh, that sly Hitchcock.)

Then she leaves the room, SANS NOTEPAD.

Roger, having watched five minutes of television/film in his life, of course knows the pencil trick. He holds the paper this way and that….(Why? What does he think he’ll see?)

Cary Grant holds notepad with clue, North by Northwest

He takes out his pencil. He does the trick pant-less (in a kind gesture of Hitchcock’s, who knows his female fans).

Cary Grant does the pencil trick with his clue.

There the address is. The super-secret address Eve was so anxious to hide.

Invisible address exposed thanks to pencil.

How long have you known this trick?  Were you six? Maybe seven? I’m pretty sure Encyclopedia Brown taught me. It’s the kind of spy craft a child can understand and appears in every detective/noir/suspense film or TV episode that assumes its audience is young/dumb/abysmally ignorant of pop culture. Frankly, I would have thought such a plot device beneath Hitchcock. But he never did like giving his heroines much credit, so of course, this spy who has supposedly fooled JAMES MASON must be outsmarted by a different man. Who has a background in….advertising. And lives with his mother.

Yes, our sexy spy was outfoxed by a trick that Micky Mouse might have taught me in the 80s, back when Disney was hawking his image on magic trick books, and I thought that a wand that lifted a playing card with a hidden piece of string was really something.

True, the pencil maneuver wasn’t QUITE as old of a trick when Hitchcock used it, but it wasn’t exactly fresh in 1959. (Though, as my friend points out, today it might become new again, with so few people using pencils.)

I used to roll my eyes when I saw this pencil-and-notepad trick, annoyed by the lazy writing. But now I laugh. Because the Coens offered a send-up of this trite scenario in their—appropriately enough—satire of/tribute to The Big Sleep, The Big Lebowski. The Dude tries to outsmart a villain using the pencil trick. His excitement is intense at his own cleverness. But alas for the Dude, the “secret” isn’t what he expected. If you are of delicate sensibility, I wouldn’t advise it, but if you don’t mind some crude humor, enjoy this film clip and Jeff Bridges’ brilliance in it. (Watch that loopy run of his! And his “just acting natural” look at the end!)

There are many, many jokes about detectives in The Big Lebowksi. One of the most evident is that unlike those brilliant sleuths who with scant clues manage to figure out everything, the Dude can’t figure out anything—the mystery, which people are manipulating him, where his rug is. And unlike the driven fictional detectives who will sacrifice anything for the job, the Dude is pathologically lazy, sharing with them only some loose sense of ethics, questionable associates, and a love for alcohol (but with the Dude, of course, it’s not a hardboiled choice like whisky, but instead White Russians).

Yes, the Dude is not a good detective, and would be an even worse spy. But guess what, Hitchcock?

Even the Dude knows the pencil trick.

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Posted in: 1950s films, 1990-current films, Drama (film), Femme fatales, Film Noir/Crime/Thriller & Mystery, Humor, TV & Pop Culture, Uncategorized Tagged: Hitchcock, noir, North by Northwest, pencil trick, The BIg Lebowski, The Dude
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