POP ART: Episode 7-Singin’ in the Rain/Irma Vep


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Been seeing a lot of films during the quarantine? Then what better time to listen to a podcast about movies that are about making movies? In Pop Art, my guest chooses a movie from pop culture and I choose a film from the art/classic side of cinema and in Episode 7, my guest, Adam Ferenz, host of the Cathode Ray Mission, chose the musical classic of infinite grace Singin’ in the Rain, while I, in turn, chose a classic of Olivier Assayas’ oeuvre, Irma Vep. And here we discuss such issues as how did Singin’ in the Rain move from pop culture to art status? Who steals the movie? What do these films have to say about the making of movies in their own culture? Who or what is a Madge Blake? And how does Batman fit in? Enjoy. And don’t forget to LIKE, COMMENT and FOLLOW. You can find Episode 7 and other episodes at Podomatic https://hcasner65579.podomatic.com/, Spotify: https://open.spotify.com/show/5jX4noVGArDJdmcFtmrQcGm , Anchor: https://anchor.fm/howard-casner, Google Podcasts: https://podcasts.google.com/…, Breaker: https://www.breaker.audio/pop-art, Pocketcasts: https://pca.st/vfjqj6j6, Radiopublic: https://radiopublic.com/pop-art-GExxNb, Soundcloud: https://soundcloud.com/you/tracks

Previous episodes: Raiders of the Lost Ark/The Treasure of the Sierra Madre; Goldfinger/The Spy Who Came in From the Cold; Monty Python and the Holy Grail/The Seventh Seal; The Great Escape/A Man Escaped; Best in Show/Series 7: The Contenders; Robocop/THX 1138

 

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WORKING WOMEN: Three films at AFI–Two Days, One Night, The Clouds of Sils Maria and Gett: The Trial of Viviane Amsalem


First, a word from our sponsors. Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r

 

Warning: SPOILERS
two days oneI have been attending the AFI film festival and have seen three films with female leads and have noticed a major difference between movies from other countries and those made in the U.S. when it comes to how we treat our actresses.
In the U.S., Marion Cottilard is made to play second fiddle to Johnny Depp, Daniel Day Lewis and Leonard DiCaprio, but on her home continent, two of the top European filmmakers actually built a whole movie around her.
In the U.S., Juliet Binoche is relegated to second tier status after a gigantic lizard goes on the rampage and Kristin Stewart is stuck in ridiculous teen angst films and even more ridiculous, over the top Hollywood blockbusters, but in Europe the two are allowed to play opposite each other in roles with depths most American actresses only dream of.
And in the U.S., when it comes to a study of a marriage, we have the misogynistic Gone Girl, with a psychotic wife who will do anything to punish her husband, even set him up for her own murder (while killing herself, no less), while from Israel, we have a film in which a woman desperately tries to get a divorce from a court that is almost determined to keep her in her place and not let her have it.
Prevailing wisdom is that this is one of the weakest years for actresses and the air is filled with panic as voters try to find five females to fill the slots for the Oscar noms for this year.
But prevailing wisdom always seems to leave out the pertinent proviso that this is really only true for the U.S. Continue reading