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ladybirdwithoutdots · 4 years

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why Emma 2020 changed the proposal scene a bit?

I understand why some book fans don't like Emma bringing up Harriet in the proposal scene because, yes, in the book she thinks keeping Harriet’s embarrassing secret is the only thing she can still do for her friend. I get it doesn’t seem so canon compliant for her to tell him there; pointing that up is valid because you are just noticing a major difference between the book and the movie, and it might even seem contradictory for Emma’s character that she does the very thing that in the book she doesn’t want to do for a valid reason. However, I also understand why the movie makes this choice, and I think this is a case in point of what it means 'adaptation' and a creative team having to reconcile with the big differences between a movie and a book when it comes to storytelling and story structure. One major difference between a book and a movie is that in a movie, they show what happens in the story from an outside perspective where canon is limited to and defined as, essentially, only what the characters make you see, and what they explicitly say. If something doesn’t happen on screen then it isn’t real in the story. A novel, on the other hand, tells a story from an inside perspective and is allowed, through a narrator (the author or the protagonist or another character) to make the reader actually know more than the characters in the story may know in that moment. The problem with a movie adaptation of this book in particular is that you can't read Emma's thoughts in a movie, and a lot of things about this book are based on her thoughts and a ‘narrator’ who can help you understand the motives of the character beyond what the character is explicitly telling others in that moment. That’s why, among other things, this movie chooses to make Emma’s feelings for Mr Knigthley obvious (on her face, in her reactions, in her jealousy) for us from the beginning, and regardless when she realizes them herself, instead of reducing it all only to the scene where Harriet confesses loving him herself, and Emma realizes her own feelings for him through the obligatory explanation scene with flashbacks, voiceovers or an added conversation between her and another character (though you could say that the added moment here where Harriet realizes, and thus says that Emma loves Mr Knightley too might serve that same function still).

I think that with the infamous proposal scene and its on screen adaptations, there are, surprisingly, two ‘issues’ a creative team may face:

1) The first issue is that, in the book, Emma is torn between her relief and joy that Knightley loves her back, and her anguish about Harriet for she doesn't know how she is going to face her and tell her that the guy loves her..and that she loves him back. She takes her time and actively avoids Harriet because she feels guilty and that, for a time, ruins her own happiness a bit.

Given how many things still happen in the book between Mr Knightley’s proposal and the wedding, and the fact it’s near impossible for the creative team to put everything in a movie, if you only see Emma being happy about his declaration of love there (as if she doesn’t know Harriet wants him too) and then them getting married, it might seem like almost erasing her feelings from the novel a bit and make it seems she doesn't feel guilty about Harriet, or doesn’t care about her being in love with Mr Knightley too. That would go against her character growth a bit for she'd look, once again, selfish and lacking empathy and critical thinking about herself.

Of course, if you read the book you also know that she does think harsh things about Harriet after the latter tells her that she loves Mr Knightley (and she thinks he wants her too). Emma regrets including her in her circle, she thinks she has turned her into arrogant, vain girl for thinking Mr Knightley would really marry someone like her. However, all of that isn’t mutually exclusive with the fact she also matures, she does see her own responsibilities and arrogance and she blames herself for Harriet’s inevitable humiliation (the second!).

Too long don’t read: book Emma cannot be indifferent about the fact Harriet wants Mr Knightley too, and she isn’t.

In light of that, it’s easy to see why Autumn de Wilde changed things a bit in the movie and, in a way, tried to still insert that part of Emma’s thoughts from the book that would be very hard to include without a narrator’s voice. It’s also a change consistent with their own version and the fact they try to make Emma a better friend in the end ...

Emma really kind of gets everything she wants in the end, and we thought a lot about watching the movie after she behaves so badly and has this epiphany and she’s totally different now,” de Wilde said. “We really felt like we would not be able to enjoy it unless we saw Harriet transformed by their rift.” The solution: pushing Emma to actively make things right with Harriet and her best suitor before Emma can accept a much-desired proposal of her own.

Indeed, you could say that Emma gets it easier in the book than in the movie because in the novel everything works in her favor without her having to face Harriet and make any personal effort to help her.

This movie, instead, wanted Emma to really earn her happy end a bit more, and called her out on her faults in the funniest way possible during the proposal scene, well emphasizing her state of mind and conflict through the infamous nosebleed, that also ruins her perfect, poised appearance symbolizing her humanity and the fact that no matter how much she tries, she can’t keep a false control of everything and always be ‘perfect’ (and the beauty of that metaphor also lies in the fact that Knightley isn’t one bit grossed by what is happening, he still tenderly touches her face, he’s all love and concern for her. He’s the one person who always loved her with her imperfections too, he won’t love her less just because she’s human).

By making Emma reveal Harriet’s mess to Mr Knightley in that moment, not only you have a version of the events that is consistent to this movie, you also have an Emma that, in some way, is still consistent to the Emma you also read in the book, albeit just in her thoughts. It also emphasizes Emma's character growth all the more.

For sure, I agree with de Wilde about that. That said, if I want to play devil's advocate here I have to say that while Emma gets it easier in the book, their version kind of erases Harriet/Robert’s agency a bit for I prefer them finding their way back to each other (in the book) without any interference. I also maintain their ‘let’s do better for poor victim Harriet’ myopia results in them not really making Harriet act as a real friend for Emma, not even in the end, leaving their relationship very unbalanced simply because they didn’t realize that their Harriet, even more than her book counterpart, was wrong too and she too had to make amends and apologize for her own blindness about Emma’s feelings, and her selfishness and uncalled for anger when she realized Emma loved the same guy she wanted for herself. This is what happens when you have critical thinking about your main character, but not so much about the secondary ones; creative teams often forget that just because someone is the protagonist (and they get the happy end) and they may be wrong about something, it doesn’t mean they are wrong about everything. I honestly feel really bad for Emma in that ‘I refused Robert Martin because of you’ scene in the movie because it really is the one moment where she is doing nothing wrong, and Harriet has no right making her feel like she’s the bad guy for loving a guy she had know since forever just because her ‘friend’ had decided she wanted him and deluded herself he wanted her too. If that scene is supposed to make me feel bad for Harriet they failed because it makes me find her annoying. Maybe it’s personal experiences too for I well know what it means when you think you have a friend, but in reality that person doesn’t care about your feelings much, and just takes for granted that your purpose and your focus is just helping them.

2) Another issue writers might find in adapting the confession scene from the book to a movie version is Mr Knightley's agency too.

Here’s the thing: her behavior in that scene is confusing to Mr Knightley for, in one moment she seems to not even want him to propose to her, but the next he understands that she loves him back. The poor man despaired, his heart broke when she seemed to reject him.

Austen, in her function of narrator, acknowledges this inconsistency in the book and she's like, yeah it must be very confusing for the guy but people rarely tell the whole truth to each other all the time and he's too happy in the end to ask himself why Emma acted so weird with him, and what matters the most is that he knows she loves him back and they can be finally together.

Still, he’s going to be all the more confused when, later, he tells her that Harriet has accepted Robert’s second proposal and where he expected Emma to be unhappy, given her oppositions to the guy before, he’s very surprised by her 180° and happiness for Harriet instead. He even says that.

Once again, I think if you are adapting the story for a movie where you don't have a narrator’s voice keeping the balance a bit and explaining what the characters can’t explain, it might seem like making this part of the story a bit unresolved for him (and him and Emma). It might not seem fully satisfying that he doesn't get an explanation and their misuranderstanding isn’t fully cleared up.

This movie resolves that by having Emma confess him that, basically, her confusing behavior was because she was scared he wanted to propose to another woman (because she loves him but she didn’t think it’s her he actually loved!), and then when he tells her that it's her he loves, she reciprocates but is also overwhelmed because there is still the issue of Harriet and it ruins her party in that moment because new Emma cannot be indifferent.

This Knightley can make sense of her behavior much better than in the book and if he's still so happy in the end, it’s because he understands that Emma didn’t reject him for she actually loves him back, and in this version she needs to make amends with Harriet and Robert Martin before she can accept her own happy end.

I also like what the director said about this scene, especially this point:

“I wanted to make that scene so romantic, and then just turn it on its head, because to say just like, they’re not perfect, they’re both just like a hot mess, and seeing Mr Knightley and Emma panic and try and solve a problem together is just as romantic as the proposal”

you know what? I agree with her.

Let's be honest, btw, Emma trusts him. Book or movie, this is a fact. She may not tell him about Harriet there but I think even in the book’s canon, it’s not so impossible to imagine that one day, when it’s safe for her to because Harriet is happy with Robert etc, she may tell him the whole story to explain her behavior to him a bit more... and have a good laugh together about the absurdity of it all.

I shouldn’t need to say this but yeah, an adaptation doesn't 'replace' the book said adaptation is based on. It's not like this is the definitive story now. I just have no real issues with changes if there are reasons for them and they make sense with a particular version, and I don’t have issues with adaptations trying to find ways to include even those things that might actually be in the book too, but they seem impossible to convey in a movie. All things considered, this movie actually is one of the most faithful to the book and historically accurate adaptations of Austen ever made. When I watched it the first time, having read the book many times, I was really surprised by how much of the book’s text is included in this version and not really modernized or altered.

I maintain that this version of the proposal scene is as ‘valid’ as the others too. Given Austen doesn't write Emma's answer in that scene (you only know she makes him undestand in some way that she loves him back and they agree to marry), it's fair to point up that all the adaptations had to create that part on their own to fill where novel doesn't tell you every detail (same thing with the dancing scene: Austen puts the proverbial fade to black there, and whether Emma and Knightley were overwhelmed by dancing together in the book, it is their business just like their honeymoon, or whether they make out during their engagement...). Emma kissing him right there and then like it happens in other adaptations isn't a more likely scenario for a lady in regency era’s context than her getting a spontaneous nosebleed, just saying. If anything, Austen’s depiction of her female characters was influenced by the fact that, at the time, while a man could be explicit and very emotional when declaring his feelings for a woman, a lady had to keep her cool and couldn't tell a guy she loved him so men had to understand a woman recipricated them through their own subtle messages and codes. This isn't to say other adaptations are wrong for making them kiss there, and for adding more romance to that particular scene (just like it isn’t wrong for this adaptation to make the dance scene and what happens afterwards more emotionally charged than it usually is, and choose to also emphasize Emma’s own feelings for him a bit more), but it isn’t wrong for this adaptation to do something different and place a kiss in the other romantic scene instead (when he tells her he'll move to Hartfield) so that the romance isn’t resolved in his confession scene only. Expecting all adaptations to be the same and interpret things in the same way means making things a tad too formulaic, tbh. And I don’t know why I should even want that. Personally, I like every version of that scene makes sense with their own adaptation, I don’t consider it a ‘flaw’ but a good thing.

I find it annoying when people reduce the love scene in this movie to the funny nosebleed thing only, anyway. It seems like misrepresenting it a bit to pretend this adaptation is just silly things when it really isn’t like that (and even the nosebleed actually has a purpose for the director that is NOT ‘silly’ tbh). Regardless the fact I actually like the whole scene including the funny twist in the end too, it’s still a romantic moment and his speech is actually delivered in a way that is very moving to me because Johnny Flynn makes the feelings of the character come across as so real on screen, and you can also see on Anya’s face (they are both crying!) all the confusion and love and amazement. I honestly have no complains about how the part that is written in the book, his speech, is delivered here because it’s really well done and the acting is on point. I really love the way they conveyed all the emotions on screen and I even felt like they conveyed some things about him better than previous versions.

#emma 2020 #emma #emma woodhouse #emma x knightley #mr knightley #long post

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coruscantiscribbler · 3 years

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Book Questions

So I’m going to tackle some of the questions posed by @thequeerlibrarian because I really don’t want to work on the revisions on a chapter, and because they were interesting and made me think. So...

1. Favorite Book: That’s very hard. I return to books for different reasons. Because I’m sad, or nostalgic, or lonely. I just realized most of the emotions addressed by books could be seen as negative. Because books are such dear old friends and they offer comfort and solace. So as I gaze at the shelves in my library I suppose I must pick The Lord of the Rings, and if I can only have one of them I’ll go with The Fellowship of the Ring.

2. Favorite Author: Again a tough question. I think I have to go with John le Carré. I think he was one of the great writers of the 20th century. Though Roger Zelazny would be right up there too.

3. Popular Book You Dislike: I try to live by Thumper’s mother’s adage -- “If you can’t say something nice, don’t say anything at all.” So I’m going to skip this one for now.

4. Favorite Genre: Easy, Science Fiction.

5. Book you hope will not be turned into a movie or TV show: Since I have a foot in that world I can’t really answer. There are books that I think would be impossible to adapt, but overall I have no problem with adapting almost anything.

6. Book you hope will be turned into a movie or TV show: The Chronicles of Amber by Roger Zelazny. Roger was born to be a screen writer and we lost him far too soon.

7. Physical books or ebooks? Both. Though since I have to travel a great deal for work ebooks have been a god send for me.

8. Favourite book quote? Gandalf to Frodo in The Fellowship of the Ring. “Many that live deserve death. And some that die deserve life. Can you give it to them? Then do not be too eager to deal out death in judgement.”

9. Favourite book cover? Well it’s not a book, it’s a novella, but I’m rather fond of it. “When the Devil Drives” Cover art by John Picacio

10. Scariest book you’ve read? The Haunting of Hill House by Shirley Jackson

11. Funniest book you’ve read? Small Gods by Terry Pratchett

12. Saddest book you’ve read? The Last Unicorn by Peter Beagle.

13. Favourite trope? Fathers and sons. I must love it because I write about it all the time.

14. Favourite children's book author? Louisa May Alcott though Kenneth Grahame is a close second.

15. Book you didn't finish? Oh, so many. I give a book 60 pages and if I’m not hooked by then I’m out.

16. First book you remember reading? A Princess of Mars

17. What book are you reading right now? Confession time. I spend so much time with words that I find reading to be a slog. I tend to watch TV or play a video game instead.

18. Last book you read? Thrawn Ascendency: Lesser Evil by Tim Zahn.

19. Do you read fanfiction? Yes.

20. Last book that made you cry? The Ghost Brigades by John Scalzi

21. Favourite character? I can’t answer this one.

22. Do you buy used books? No.

23. Books you read in school? That was so far back I can only remember a few Heart of Darkness, which I loved. Moby Dick which I didn’t, Great Expectations, My mind has gone blank.

24. Do you check out books from the library? I did when I was a child and when I was a starving student. Now I buy them.

25. Favourite children's book? The Wind in the Willows.

26. Series or standalones? Series

27. Book you didn't like? Moby Dick. Since I can’t hurt Melville’s feelings.

28. Paperback or hardcover? Both

29. How did you get into reading? My father taught me to read before I started school. He read aloud to me every night, and he read a book a night. Books were just part of my life.

30. Book recommendation? How long should this post be? Tinker, Tailor, Soldier, Spy, The Lord of the Rings, Lord of Light, Anything by Lois McMaster Bujold, Anything by Dorothy Dunnett. Jane Austen. I’ll stop now.

#Book Questions #reading #novels #science fiction

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thebirdandhersong · 3 years

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Fairy tale retellings! because I couldn’t help myself (under the cut because I got carried away and remembered my fairy tale retelling phase from middle school........ oh boy)

Cinderella

Cinderella (2015 Disney live action): beautiful beautiful BEAUTIFUL (the music! the script!! the Hope! the costumes! the dress! the gentleness at its heart! the overall design and the colours!) (I still believe it’s the best live action re-adaptation they’ve come up with so far) (then again they DID have one of the Rogue One writers and Kenneth Branagh--both of whom understand story AND fairy tales--on the team, and possibly the best combination of actors and costume designers)

Cinderella (Disney animated movie): like a dream. Can’t remember it that well because I haven’t watched it in over ten years, but I remember that I loved it

Cinderella, the Rodgers & Hammerstein musical featuring Laura Osnes and Santino Fontana: Laura’s Cinderella is so lively and hopeful and bright and affectionate and I Love Her!!! The script is also surprisingly funny, and the little changes they made (like the fairy godmother being an old beggar woman in the village, the subplot with her stepsister, the scene at the ball where she suggests that they should all be kind to one another, the fact that the prince is called His Royal Highness Christopher Rupert Windemere Vladimir Karl Alexander Francois Reginald Lancelot Herman (HERMAN!) Gregory James....... iconic) added rather than detracted from the themes they chose to emphasize

A Cinderella Story: possibly one of my favourite films. I loved the fact that they knew each other before the ‘ball’. Loved the way the fairy tale was ‘translated’ into the 2000s. The friendship was strong with this one. I had the best time watching this movie. (Dress-wise, Hilary Duff’s dress is my least favourite, but that’s a minor quibble, and is also due to the fact that it has Lily and Laura’s gorgeous fluffy ballgowns to contend with, and that’s not fair competition)

Persuasion, by Jane Austen: does it count?? The way I see it, Persuasion is like Cinderella gone wrong (we discussed this in class, and my prof called Lady Russell a fairy godmother who means well but fails her protege before the story even begins. We talked about Anne’s ‘Cinderella’/makeover moment taking place over a longer period of time, about the ‘evil’ stepsisters, etc. etc. I’m not entirely sure I agree with every single comparison he made, but he made some Very interesting points).... at least the first time :)

Cinder, by Marissa Meyer. Oh, the images!!!!! Marissa Meyer is WONDERFUL at them. You wouldn’t think they’d translate well into a futuristic sci-fi (almost steampunk) world, but she did it SO brilliantly (the slipper! the ‘dress’! the whole family situation!)

Rapunzel

Tangled (Disney animated movie): an absolute joy. Rapunzel is an Ariel-like character who has hopes and dreams of her own, and I love how warm and vivacious and endearingly transparent she is. The dance scene is so, so lovely. (I stand by my opinion that very few little went right with Disney’s fairy tale retellings after Tangled.)

Cress, by Marissa Meyer: once again. Images. I can’t believe she managed to pull Rapunzel-in-space off so well. (Plus she’s a hacker, and such a sweetheart!!)

Beauty and the Beast

Beauty and the Beast (Disney animated movie): Amazing. Gorgeous. Brilliant. The buildings and the music and Belle (Belle, my darling!!) and the darker, more Gothic feel to the art and the design...... Yes

Beauty, by Robin McKinley: knocked it right out of the ball park, right through the atmosphere, right into outer space... The language is so lush and atmospheric, and even though I knew roughly what was going to happen, I loved every moment of it. She puts a special emphasis on family and on human connection and I Loved that so much.

Rose Daughter, by Robin McKinley: also gorgeous!!!!! Beauty is still my favourite of the two, but this one was also a gem. (Again: the emphasis on family and sisterhood!!!)

Beauty and the Beast (the Broadway musical): Susan Egan’s voice is SO lovely. And Home deserved more than just an instrumental reference in the 2017 version.

The Twelve Dancing Princesses

Princess of the Midnight Ball, by Jessica Day George: the Best. The sisters are easier to distinguish, the changes/things she added (the war, the queen’s past, etc.) make the story even more interesting, and Galen is fantastic (courteous, kind, brave, AND likes to knit?? NICE)

The Barbie movie: I loved it when I was a little girl (it is also Muffin-approved!)

The Princess and the Pea

@fictionadventurer‘s Wodehousian one :) which is an absolute delight. Every once in a while I remember it and then can’t stop smiling

The Goose Girl

The Goose Girl, by Shannon Hale: the Best. And by the Best, I mean the absolute Best. Her writing is so beautiful and her characters are so real and distinctive. The worldbuilding is fascinating. It’s so simple and so beautiful, and is near-perfect as a retelling and as a novel. The rest of the Bayern series is also wonderful!!

The Little Mermaid

The Little Mermaid (Disney movie): can’t remember it very well, except for the chef who wanted to cook Sebastian and also Ariel’s very cool sisters.... the music and Ariel’s character are lovely :)

The Little Android, by Marissa Meyer: genius. The first time I read it, I cried furiously. What does it mean to be human?? Marissa Meyer loves to talk about this in her other books (through malfunctioning robots, androids, werewolves, etc.). And the conclusion she comes to is always the same (and always done so beautifully): it’s about love and sacrifice (and tbh even though she’s talking about this through robots and werewolves, she’s got a point!!! When you act with love and self-sacrifice, you reflect the character of the Maker and His love and self-sacrifice, which is what makes us in that moment the most human--or at least human in the sense that that’s what we were made to be and to do towards our neighbours and enemies)

Ponyo (Studio Ghibli movie): this counts, doesn’t it?? A film that is an absolute joy through and through. It doesn’t completely stick to the original fairy tale but it also talks about compassion, kindness, and love as a choice

The Princess and the Frog

The Princess and the Frog (Disney animated movie): can’t remember it very well, but Anika Noni Rose has a fantastic voice, and I loved Tiana’s practicality, optimism, and kindness

The Prince of the Pond, by Donna Jo Napoli: can’t remember it either (read it in third grade) but basically it’s about how the prince turns into a frog and starts a family with another frog (the story is told from her perspective). I do remember that the ending made me so sad, though

Sleeping Beauty

Sleeping Beauty (Disney movie): can’t remember it at all either, except for: 1) Once Upon a Dream (a brilliant song) and 2) forget pink or blue. I liked her grey dress the most

Spindle’s End, by Robin McKinley: the story was told in such an interesting way (the animals! the way she wrote about love and protecting the people you love and self-sacrifice in familial and platonic relationships!) with Robin McKinley’s beautiful style

East of the Sun, West of the Moon

East, by Edith Pattou: I was obsessed with this book in elementary school. Obsessed. I kept rereading it over and over again because I just loved it so much. It’s been a few years since I’ve read it, but I can remember certain scenes (Rose entering the ballroom for the first time, the white bear’s hulking figure in the doorway, the architecture of the hall where she washes the shirt, her fingers running over the wax, the reunion scene) so vividly as if it had been a movie instead of a book, or if I’d actually been there, experiencing what Rose was experiencing

Orpheus and Eurydice (which kind of counts)

Hadestown (the Broadway musical, the original cast, AND Anais Mitchell’s original concept album): I’ve talked about it so much I probably shouldn’t even start slkfjsdl;kfjlk; I just wanted an excuse to mention it again

Tam Lin

Fire and Hemlock, by Diana Wynne Jones: I loved it when I first read it but I was so confused and so fascinated by it.

The Snow Queen

Frozen (Disney animated movie): no (insert heart emoji)

And contemporary(?) books that are considered modern classics, if not modern fairy tales (depends on how you look at it, really):

Peter Pan

Peter Pan (Disney animated movie): a childhood favourite!!!

Peter and the Starcatchers, by Dave Barry: the whole series is so much fun (and they’re among some of the funniest books I’ve read). This one serves as a sort of prequel to Peter Pan, but it’s safer to say that Dave Barry reimagined the whole story.

Peter and the Starcatcher (Broadway play adaptation of the book, which is a reimagining of the original Peter Pan..... yeah): the source material is incredibly funny, so naturally the play adaptation makes you laugh until your sides feel ready to split (I mean!! You have Christian Borle as Black Stache, Adam Chanler Berat as Peter, Celia Keenan-Bolger as Molly..... they’re all brilliant) The script, the way the cast makes use of the set and props, the perfect comic delivery....... love it

Finding Neverland, a musical adaptation of the movie (the A.R.T. production with Jeremy Jordan as James Barrie): the music is so good, and the way they write about the value of looking at the world through the eyes of a child?? of seeing the beauty in everything?? of hope and imagination and wonder?? If it weren’t for the way it handles adultery (even emotionally cheating!) and divorce :( but Laura Michelle Kelly is absolutely enchanting, and the script is also incredibly funny and heartwarming

Tiger Lily, by Jodi Lynn Anderson: a twisted fairy tale... it was quite disturbing at times, but it was also beautiful and heartbreaking. It’s a darker take on the story, which I tend not to like (at all), but the way it explored Tiger Lily and Peter was quite interestng

The Wizard of Oz

WIcked, the Stephen Schwartz musical--I haven’t read the book: as far as retellings-about-the-villain-of-the-original-story goes this one is my favourite. It is another twisted fairy tale, though, and there’s a constant undercurrent of doom and dread, even in the motifs Stephen Schwartz uses... the ending is not completely happy, but the music is FANTASTIC (Mr. Schwartz also did The Hunchback of Notre Dame and Prince of Egypt!!)

Alice in Wonderland

Alice in Wonderland (Disney movie): another childhood favourite... I also haven’t seen this one in over ten years, but I can still remember specific scenes very clearly in my head

Alice by Heart: a musical about a girl called Alice Spencer whose coping mechanism (quite literally) is Alice in Wonderland. She knows it by heart (again. Literally) and she dives into the world as a form of escapism (LITERALLY. There’s even a song at the end where the characters acknowledge how unhealthy this is). There’s a lot about growing up, losing a loved one, learning to let go... about self-deception and grief and the control one has over one’s life (unfortunately it IS subtly antagonistic towards Christianity at times)..... i do wish that writers didn’t have to treat sexual maturity as the most prominent/interesting part of coming-of-age stories, though. The characters, the set and lighting and costume design (BRILLIANT, by the way!!!!)... all wonderful. But the strangely sexual references can be a bit uncomfortable. (Really!! You can tell a coming-of-age story WITHOUT that stuff, you know!!!!!)

That Disney Movie directed by Tim Burton: wouldn’t recommend. Alice doesn’t need to be a warrior. (At ALL.)

Would also like to mention: Princess Tutu :)

#i am sorry but i am very emphatically not a frozen fan #especially since we read snow queen at jellicoe lodge?? it's such a beautiful story #and the IMAGES #but hollywood is more into self-actualisation/self-discovery/self-acceptance/self-centric stories these days #i guess they just didn't want to tell a story about self-sacrifice and selfless acts of love ? i don't know #anyway i get irrationally worked up about frozen sorry #the second one nearly made steam pour out of my ears #i GET they want to focus on the Self (and all the selfishness and self-importance that comes with our world's idea of self love)#but ELSA as an oldest sister HOW could you make all these decisions #fairy tales #i need to finish princess tutu sometime (sigh)#songbird again #my posts

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aegissi · 4 years

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hi youmi ilu can u give me some movie recs pls?? i rlly haven't watched any movies Ever besides like... parasite and kids movies. and maybe the odd award winning movie too LMAO

omg okay!!!

the handmaiden!!! best movie best cinematography!!!!! im absolutely in love with the colors and the costumes and it has such a solid story and the actresses have great chemistry too,,, the message of the movie is so strong as well but i don’t wanna spoil sjfhkb (tw sexual abuse)

sympathy for lady vengeance, especially the version that fades to black and white bc it’s so visually pleasing!!! there are several shots that are forever engraved in my mind like it’s such a shocking movie in the best/worst way (can’t give spoilers but.. it does get hard to watch??), the main actress is incredible, she has so many iconic lines and ugh!!! it’s just so good and im still thinking abt it to this day,, in general park chan wook’s movie have female characters that have agency so it’s really satisfying to watch !!! (tw rape, violence, blood)

eternal sunshine of the spotless mind is one of my favourite love stories bc it’s so unconventional, it has elements of sci fi but it focuses more on the main couple than anything else,,,, basically they broke up before the movie starts and the guy discovers that the girl erased her memory and he ends up making the same decision and it goes from there and i cried sm shgdvj i also love stories that don’t have linear storylines so that hits the mark for me

moonlight... lit rully poetic cinema...... it’s so tender but also so violent at times, like it’s a movie that doesn’t shy away from showing u sadness and suffering and it’s such a special movie (and it’s gorgeous!!!!!!) there r several lines in that movie that make me crazy,,, it’s all abt the lingering stares,,,,,, (tw homophobia, violence, drugs)

what we do in the shadows is simply the funniest movie ever, it’s a mockumentary abt vampires and thats all u need to know

the half of it!!! i just watched it and ugh sgjjbk it’s not a rom com, it’s more of a coming of age story and it’s so special to me bc i really relate to it since the director is a chinese american lesbian, and the main character too,,, i luv the cinematography and the connections between ellie and the other characters,,, it’s great

gone girl is probably the best thriller ever, it’s incredible, the plot is sooooo good and the execution is incredible like i already knew the plot twist before watching but it didn’t affect my enjoyment of the movie at all,, rosamund pikes as amy is just ugh i don’t even have the words!!! wheres her oscar!!! i recommend reading the book too (tw blood, men)

emma (2020) is an adaptation of one of my favourite jane austen novels and it was excellent!! the whole cast was perfect, the costumes too, and the colors r so pretty!!! like it’s such a pretty movie!!!!! it’s a love story ig but it’s mainly abt emma maturing, bc shes a privileged jerk tbh but shes still really endearing hsvdfgj basically she loooves matchmaking and she ends up hurting people bc she actually sucks at matchmaking (i won’t say more)

pride and prejudice (2005),,, such a stunning movie, and ugh!!! they just know. they know what slowburn romance is!!!!! also keira knightley is really pretty

rear window is one of the only hitchcock movies i’ve ever watched and i really recommend it!! it’s fun and i love that it only has one setting,,, basically the main character is stuck at home and spends his time watching his neighbors from his window HOWEVER one day he witnesses a murder!!! TUN TUN TUN!!!!! grace kelly is beauty itself in this movie as well hehe

roman holiday is another classic movie i love!! it has my girl audrey hepburn and shes a princess and basically she falls in love with a journalist and spends one day in rome with him,,, thats the whole movie and i loved watching it it’s so romantic

gentlemen prefer blondes is so iconic!!! i actually love the dynamic between marilyn monroe and jane russell, it’s such a fun movie and it’s a MUSICAL!!!! girls DO love diamonds!!!!!

birds of prey is one of my fave superhero movies, i adore the fight scenes bc theyre all so exciting and creative, i love harley quinn as a narrator and main character, all the actresses were excellent,,, im really happy it was the last movie i watched in theaters before quarantine

always be my maybe is such a sweet rom com i just love it, it’s so funny, it has so much heart, and it’s a childhood friends to lovers to strangers to lovers type situation (also. theyre both asian hehe)

#i tried to give u a variety of movies shgfvj period dramas thriller rom com musical gay... all the genres are here #follow my letterboxd @miyoumi #and reply to my ig dm omg #ask #haejin🐣

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thatscarletflycatcher · 5 years

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Final thoughts on Sense and Sensibility

I have a soft spot in my heart for this novel. It was the first work of Austen I read and it came to me in a very particular moment of my life, in which I stopped trying to ignore things that had happened to me in my teens years and started to try and make sense of them.

As I read the novel, I came to see Marianne’s journey more and more in my own, until arriving to the same conclusions she does. Of course, I think most of us get through a teen phase; but as I never was a typical teen and I didn’t obsess over the things my peers did, it took me some time to understand that I had made the same mistakes of judgement they did, just in different things: a love and appreciation for novelty, passion and physical beauty OVER other important things like loyalty, perseverance and simplicity.

Those things are not bad in themselves, and in the novel you can see Brandon defending Marianne’s joie de vivre; he’s even the only one not to think censurable her reply to Mrs. Ferrars when she started comparing Elinor’s drawings to those of Miss Morton. The problem begins when you blind yourself to all those other things that are important, even if they are not flashy.

Marianne and Willoughby have a lot in common in their passion for life, but there’s a huge difference between them: Marianne before meeting him, and then specially after their breakup, is a kind person that can see goodness in others even if they don’t match her ideal of an accomplished person (we can see it at first in Edward and then in pretty much everyone else who deserves at least minimal recognition). Under Willoughby’s influence, she begins to disregard anyone that is not him, and begins to be cruel towards Brandon, whom at first she thought the only rational person around.

As the novel progresses, we get to see that the silliness and ill-breeding of sir John, Mrs. Jennings and the Palmers comes with a sense of justice and sincere concern for the welfare of others; that Mrs. Dashwood’s exaggerated sensibility comes with a big heart. It does not excuse their sins, but shows them, as characters, in a better light, and deserving of notice and gratitude for what they do right.

I just love how this “lesson” resolves in Willoughby and Marianne’s confession to Elinor; he has learned nothing and cares about nothing but his own feelings, desires and image. She, on the other hand, realizes how much other people, Elinor first and foremost, did for her. She’s ashamed that she had striven so hard for the attention of someone who at the end of the day would never choose her over his own selfish desires, while disregarding everyone else’s concern and good will towards her, and paying their kindness with indifference and coldness.

I think it is an invitation to look around us and see if there’s someone in our circles that everybody speaks well of and nobody cares about, whom all are delighted to see, and nobody remembers to talk to.

Other random notes on this reread:

- I haven’t noticed before the parallels between Edward and Willoughby, as evident as they are.

- Anne Steele is the funniest thing. Hope she catches that doctor. Though it would have been really funny for her to marry Robert. This crack!ship is up there with Mr. Collins marrying Mary in P&P.

- “I wish with all my soul his wife may plague his heart out” is such a powerful curse.

- Brandon is the one that is always retreading his words to find ones that better fit his meaning.

- Mrs. Smith vs. Mrs. Ferrars as opposites ways of being “the mysterious old woman on whom the fortune of younger relatives depends”. Such a delicious Austen trope.

- The scene of Elinor, Marianne and Mrs. Jennings talking shit about the Ferrars. Like, you know, the kind of thing that could unite women so different between them.

- Mrs. Jennings thinking that Brandon is proposing to Elinor is never not funny. I cannot understand why didn’t it make it to any adaptation (Oh, yes, I know, because the 2008s series wanted to go dark and no fun allowed. Ok.)

- Lucy stealing Anne’s money before running away with Robert. Like, the whole relationship between those sisters deserves a special analysis, as they are the comical extremes of silliness and cunning (and in thay way mirror Marianne’s sensibility and Elinor’s sense).

- The way in which Lucy marrying Robert is a plot twist, and at the same time, perfectly consistent with Lucy and Robert’s characterization.

- How abusive towards Edward Mrs. Ferrars is. Like, she felt ashamed of him since an early age (she didn’t send him to a big school, like she did with Robert, but to a private tutor in Plymouth), she has always visibly preferred Robert and made Edward feel it. Then there’s Robert refusing to let Edward choose a profession when he comes back from Plymouth. The fact that Edward prefers to spend his time with Fanny and Lucy whenever he can makes patent how horrible the rest of his family is towards him. It totally explains his shyness, escapism and want of spirits.

#Jane Austen #Sense and Sensibility #Readingausten

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bbclesmis · 5 years

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Entertainment Weekly: Dominic West on why Les Misérables' Valjean and Javert are like Mean Girls

Victor Hugo’s epic tale of redemption and revolution Les Misérables is set in nineteenth-century France — and 2004’s meme-generating Mean Girls is…not.

Yet, the two have more in common than one might think, at least according to star Dominic West, who portrays Jean Valjean, a.k.a. Prisoner 24601.

Valjean begins the series, now a six-part miniseries premiering on PBS’ Masterpiece Sunday, newly emerged from 19 years in prison. He begins his life anew, wanting to shed his past and build a life for himself — but the dogged pursuit of his former prison guard, the newly minted Inspector Javert (David Oyelowo), puts him once more on the run.

That obsession, which finds Javert tracking Valjean across France, reminded West of a key scene in Mean Girls and popular meme. “This is a massive case of Why are you so obsessed with me?,” he jokes. “Jean Valjean and Javert really are Mean Girls, and it’s not clear why Javert is so obsessed with him. To an astonishing degree.”

For West, one of the most difficult parts of the role was exploring that cat-and-mouse game and why these characters can’t let go of each other. He says his costar David Oyelowo slightly disagreed with West’s assessment, which is that the relationship has an element of something “psychosexual.”

He explains, “There is a moment in our TV series where I strip off in front of David, as a prisoner; I’m being released and he does cop a glance…There’s a certain sexual obsession. There’s something going on between these two men. And we didn’t want to play that too much. It’s not explicit in the writing, and certainly not in Victor Hugo, but I think with our modern sensibilities you’ve got to look for an impulse that strong. And there’s no stronger impulse than love and sex.”

West is bursting with pop culture comparisons for the new Andrew Davies adaptation of the tale, which is known most famously to people in the form of the Claude-Michel Schönberg and Alain Boublil musical. This six-part miniseries, which debuts April 14 at 9 p.m., is not a musical and hews more closely to the novel.

In advance of the premiere, EW called up West to talk how much the musical inspired him (hint: not at all), why Iron Man ain’t got nothing on Valjean, and what it was like trying to keep his cool opposite Oscar winner Olivia Colman’s comedic antics.

ENTERTAINMENT WEEKLY: How familiar were you with Les Mis when you signed on? With the musical’s popularity, it seems almost unavoidable, especially in Britain. DOMINIC WEST: I escaped it! I hadn’t seen the musical and I hadn’t seen all of the film of the musical, so I was pretty new to it all. I certainly hadn’t read it. If I was honest, I was slightly put off by the musical. I also thought, “Well it’s just been made into a film. What’s the point of doing it again?” Then I read Andrew’s scripts and I saw why it was a classic. Then I read a book, and then I decided I thought it was the greatest hero in literature and I had to do it, but before all that I didn’t really know much about it at all.

Something that struck me in this adaptation is how much we really get a sense that Valjean is a scary guy. He’s a hardened criminal who is reforming, and we see that in the ferocity you lend him in early episodes. For you, how did you tap into that and then how did you hammer out the journey to his gentler side? The problem with the story is the only thing he’s guilty of is stealing a loaf of bread in order to feed his starving nieces and nephews, who when he then gets jailed for that, they then presumably all die. This guy hasn’t done anything wrong. In fact, he’s been completely wronged. That’s one way you find how brutalized he’s been, how unfair he feels the world has been to him. There’s a rage in there which I found because he’s constantly being told he’s a beast, he’s a brute, he’s a good-for-nothing. Throughout the story, he’s constantly thinking of that of himself. So, he does need to be as brutish and as frightening as possible at the beginning. If he’s always been a nice guy, there’s not much of a journey to go on. It’s just more dramatic when the Bishop shows love to this guy if he’s terrifying.

I was watching the first episode the day the sentencing for Paul Manafort came out here, and it struck me that Jean Valjean got 19 years for a loaf of bread and this guy got way less for something objectively worse. [Laughs] Yeah. It’d be great if he got 19 years hard labor. [Laughs] It was a real problem for me getting my head around that, you just sort of think, “Hang on a second, a loaf of bread?” That is just nuts. That’s crazy. But that was one of the big things that I had to come to terms with in terms of psychological things with Jean Valjean —this sense that if you brutalize people, then they believe they’re not worthy of anything. They believe they are brutish and they behave accordingly. That’s a lot what Victor Hugo was trying to talk about.

David Oyelowo is your foil as Javert. What was that push and pull like with him? He took the lead on it really. I kept trying to get to know him and go out for dinner with him or something, and he kept avoiding me and ignoring me. I thought, “Oh, he’s not very friendly.” And then at the end when we finished, we went out, we had this great time and I said, “It’s such a shame we’re only just getting to know each other now.” Then he said, “Oh no, that was totally deliberate. I didn’t want to get to know you. I didn’t want to feel easy with you.” And he’s right – if you socialize with people, there is a chemistry between you, there is an ease between you, which the camera catches.

Andrew Davies is so well-regarded as an adaptor, having tackled everyone from Austen to Dickens to Tolstoy. Why do you think he has such a knack for adapting these very big books by canonical authors? He won’t do a book that’s less than two inches thick, I think. [Laughs] But I suppose he got good at it with Pride and Prejudice. When I was looking back at the scripts having read the novel, [I noticed] almost every significant and memorable scene that I remember from the novel, he managed to somehow get into the screenplay. And when you consider how long the novel is, that’s an extraordinary achievement. He’s just very good at selecting the nuggets and finessing the bumpy bits. Because another thing that strikes you when you try to work out what happened, there’s an enormous amount of coincidence, as typical of 19th-century novels I suppose. What he’s very good at doing is condensing the important stuff, but also of unknotting the more grating bits of structure, which modern audiences don’t really buy.

You have some great face-offs with Olivia Colman as Madame Thenardier, and you’ve both been praised for your dry wit and sense of humor on set, so what was the funniest moment you shared together while making this? [Laughs] Oh god, well the trouble with her is she’s so damn good that she can be roaring with laughter right up to action and then suddenly she’ll do the most devastating scene of sadness. I thought I could do that, and I thought I could run with the big leagues, but I couldn’t…There’s a big fight scene where they all pin me down on the table, [and] she gets me by the hair. She did pull my hair quite deliberately I think. Then I get a red hot iron bar out of the stove and I burn myself with it to show them how it’s nothing to me. But anyway, it’s a serious scene for Valjean. As we were preparing before action, she and Adeel [Akhtar], who played Monsieur Thenardier were doing this impression of this couple who are on British TV [on] a thing called Goggle Box, which shows ordinary people watching TV. Everyone’s crying with laughter listening to their impression of this couple. She was constantly doing impressions and cracking jokes, and I just remember that one scene where I realized I had to stop listening to her and concentrate on the work at hand.

In some ways, this story is more religious than modern audiences often see – was that an aspect you tapped into? How do you feel about Hugo’s assessment of God in this story and God’s power in Valjean’s life and destiny? It’s obviously central. Hugo does a three chapter dissertation on the state of the Catholic church, nunneries in particular. He’s not a great fan of Catholicism, but he’s definitely a believer in God. You can’t really do Valjean without having that dimension to him. He believes in God; he believes he’s been saved and can be redeemed. That’s fundamental to him. You can’t understand him without that. The candlesticks become a symbol of that belief in God. This Archbishop, who gives him the candlesticks, is a wholly good person and the power of that virtue is what turns Valjean into a hero. That virtue does not come divorced from his God. That does not exist in a vacuum. My faith is less certain, and more modern skepticism, but there’s not really any room for that with Valjean. Without being specific about a religion, he has to believe that there is a higher power and that that higher power has saved him.

Valjean is a very physical role in a lot of ways. Did you have to do a lot of training for it? Yeah, that was a nightmare. He’s essentially described as the strongest man in the world, who can fight ten men at a time. He climbs up the sides of buildings rescuing children, and in the book, he climbs up the mast of a huge tall ship and rescues a sailor who’s trapped on a yard arm and then jumps off it into the ocean and stays underwater for a full five minutes so everyone thinks he’s dead and then escapes. He’s a superhuman; he’s the original superhero. I’d like to see Iron Man do 19 years hard labor in a 19th-century prison. He’s tough as nails. That was quite daunting for me. I did a lot of boxing training; that’s the toughest training I know.

Would you be up for playing him in the musical version should the opportunity ever arise? I think there’s a reason you haven’t heard me sing much. [Laughs] I think I’ve got a lovely voice, and all I’ve ever wanted to do is musicals. The only one I’ve ever done is My Fair Lady. I played Professor Higgins, which is a part that’s written for a non-singer. I was constantly trying to put songs into Les Mis. As much as I would love to play Valjean in the musical, I don’t think anyone’s going to ask me too once they hear me sing. [Laughs]

#les mis bbc #bbc les mis #dominic west #Jean Valjean #Interviews #articles #entertainment weekly #pbs

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roseisread · 8 years

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Top 25 Movies of 2016

I saw 51 of the many more films released in 2016, so naturally this list suffers from the usual incompleteness. But of those 51, the movies listed below are the ones that really stuck with me, entertained me, moved me, or made me see the world through a different lens after the credits rolled. Some of them are deeply personal and hold great meaning; others are just a great excuse to laugh or shudder or sob about something that doesn’t matter so you don’t have to think about the things in real life that might evoke that reaction for a couple hours.

If you saw something amazing that didn’t make the list, be sure to let me know so I can add it to my watchlist (or defend my choice to leave it off the list of faves).

25. Zootopia (Netflix) At a time when the world was finding reasons to divide itself into fractious subgroups, along came a winsome little animated film about tolerance and eschewing stereotypes. The animation is top notch, the story is funny and action-packed, and any scene featuring the sloth from the DMV threatened my ability to breathe because I was laughing so hard. If you missed it in theaters, be sure to catch up with it on Netflix. It’s a real gem.

24. The Conjuring 2 (Amazon/iTunes rental) The first Conjuring got a ton of acclaim but I wasn’t that enamored with it. This one, on the other hand, totally delivers. Once again, Vera Farmiga and Patrick Wilson star as paranormal investigators who are plagued by dark forces. This time, the action centers on a family in England (inspired by the somewhat infamous Enfield Poltergeist) with an unwanted apparition who interacts with them in all kinds of upsetting ways. Rather than relying solely on jump scares, there’s a lot of great suspenseful sequences and practical effects that use the atmosphere and physical space to masterful effect. Plus, the characters are likable and we are rooting for them which goes a long way toward making this a better than average horror movie.

23. The Edge of Seventeen (Theaters) Hailee Steinfeld plus Woody Harrelson equals brilliance. Add to the mix the savvy direction of first timer Kelly Fremon Craig and the charming supporting cast (particularly Hayden Szeto) and you have a winning combo that leaves other teen dramedies in the dust. The story is relatable for anyone who experienced high school: Nadine feels alienated at school and at home, partly because high school sucks and parents just don’t understand but also partly because she sees herself as just a little bit superior to her peers and family members. She’s a classic Holden Caulfield type, really. When her best friend starts dating Nadine’s brother and mortal enemy, she takes it as a personal betrayal. Between this, her crush on a bad boy type, and her tentative steps toward romance with a nerdy but sweet classmate, she’s got a lot on her plate. Naturally, she takes solace by venting to her favorite teacher, the bemused Harrelson who takes all of her abuse and whining with stoic aplomb.

22. Jackie (Theaters) I was born in 1981, which means I don’t have any personal connection to Jackie O. the way people of my parents generation did. I don’t have recollections of seeing her on TV or experiencing the Kennedy assassination, but I’ve been hearing about it all my life and thus feel like I know the story. This movie took me by surprise by showing me something new, something I’d never considered: The personal grief of a tremendously public loss. Natalie Portman embodies the carefully manicured public persona as well as the private devastation of Jackie Kennedy in the days surrounding JFK’s death. It’s not a traditional biopic, and not a traditional historical drama. That makes sense coming from Chilean director Pablo Larrain, who also gave us the excellent political thriller/comedy No a few years ago. He captures pivotal moments and edits them together into a kind of fractured consciousness befitting the recently bereft Jackie.

21. 10 Cloverfield Lane (Amazon/GooglePlay rental) I’ve still never seen the original Cloverfield (I know, I know), but I do love me some John Goodman being a possible creeper so I had to see this movie. The title really was an afterthought; the story was written independent of the horror franchise and marketing decided a built-in audience and some name recognition would boost ticket sales. All of this to say, you don’t need to know or love Cloverfield to know and love 10 Cloverfield Lane. Essentially it’s a chamber piece, modeled on some of Hitchcock’s techniques (Lifeboat/Rope/Dial M for Murder). Oh and also the original script got a once-over by a certain Damien Chazelle, who was once slated to direct it as well until Whiplash got greenlit and then he got a little busy making a movie called La La Land which may or may not be definitely coming up later in this list so... yeah. But anyways. It’s got that breathlessness and intensity Chazelle brought to life in his other movies, but this time in an actual horror/suspense setting. Mary Elizabeth Winstead and John Gallagher, Jr. play Goodman’s reluctant houseguests in his underground bunker. Goodman claims to be protecting them from something horrible outside; they’re not sure whether to believe him or to trust their instinct that the something horrible is Goodman himself. All three performances are excellent, and your nerves will be frayed little bundles by the time 103 minutes is up.

20. Certain Women (Theaters) Just watching this movie made me feel physically cold. It takes place in Montana, and is essentially a triptych that follows three different women in the same small town. The first, played by Laura Dern, is an attorney with a particularly high maintenance client (Jared Harris). The second is a woman (Michelle Williams) who feels alienated from her husband and their teenage daughter, even as the family is working on building a house together. The final story, and by far my favorite, focuses on a farmhand (the glorious Lily Gladstone in a breakout role) who chances upon a night class taught by Kristen Stewart and becomes transfixed. This is a quiet film, about women who yearn for more than their lives so far have given them. Each one deals with the small injustices and tiny victories that ordinary events bestow, but one senses beneath the surface a lingering question of “Is this all there is?” In that way, it’s totally relatable. There aren’t a lot of major plot arcs here, but that’s exactly the point of the film. In watching this movie, you realize that Henry David Thoreau’s quote about the masses leading lives of quiet desperation might well be answered by Simone de Beauvoir: “I think that where you go wrong is that you imagine that your reasons for living ought to fall on you, ready-made from heaven, whereas we have to find them for ourselves.”

19. Don’t Think Twice (YouTube/GooglePlay rental) If you listen to podcasts at all (especially This American Life, WTF, or You Made It Weird), you should know the name Mike Birbiglia by now. He’s a comic turned actor/writer/director and this is his latest original work. This time, he enlisted fellow talented comics to join him onscreen: Chris Gethard, Gillian Jacobs, Keegan Michael Key, Kate Micucci, and Tami Sagher play his friends and fellow members of an improv troupe. They’re all people you know or have been--starving artist types who are holding onto a dream that comedy will one day pay the bills and take them to the next level. When that actually happens to one of them, the group dynamic shifts considerably. As Morrissey so accurately sings, “We hate it when our friends become successful.” But really, the truth is we hate ourselves when our friends become successful. It makes us question whether it’s a matter of deserving it or working hard or random chance. The great thing about this movie is the blend of truly hilarious comedic moments and stirring emotional honesty. It’s about friendship, it’s about surviving your thirties, it’s about figuring out if the dreams you’ve had your whole life are the dreams you still actually want to come true. If you can get through Gillian Jacobs’ incredible solo improv performance toward the end of this movie without tears, you get to be the new Clear Eyes spokesperson instead of Ben Stein.

18. Love and Friendship (Amazon Prime) This movie features one of the funniest characters of the year, an immensely clueless rich dolt named Sir James Martin (Tom Bennett), who marvels at the existence of peas and struggles to arrive at the correct number of commandments. Who could be responsible for such a creation? Well, who else but the writer whose best work pokes fun at social climbers and wealthy nitwits: Jane Austen. Whit Stillman adapted her little known work Lady Susan into this charming and hilarious period piece starring Kate Beckinsale, Chloe Sevigny, Stephen Fry, and Xavier Samuel. Beckinsale does her absolute greatest work in this movie--I had no idea she was capable of this kind of performance, and she absolutely slays. As far as Austen adaptations go, this one is my favorite since Clueless--and that’s about the highest praise I could offer.

17. Don’t Breathe (YouTube/Amazon/Vudu Rental) The premise of Fede Alvarez’s sophomore thriller is simple: A trio of young Detroit opportunists break into the home of a blind veteran (Stephen Lang) after hearing he’s got a lot of cash in the house, figuring it’ll be an easy score. But they underestimate this particular blind man and his ability to protect his home and property. The result is a fast-paced cat and mouse game that will definitely have you holding your breath for long chunks of time. I had a blast watching this movie, even if it should have ended a few scenes earlier than it did.

16. Hell or High Water (Amazon/iTunes/GooglePlay Rental) One of my favorite pieces of music, classical or otherwise, is Aaron Copeland’s Fanfare for the Common Man. This composition was directly inspired by a speech delivered by Henry Wallace in 1942, which outlined the cause of freedom and the stakes of World War II while also setting a tone for the whole century as one in which ordinary people--the common man--would share the same standard of living, of educational and economic opportunity, of scientific discovery. An excerpt of this speech reads thusly: “When the freedom-loving people march; when the farmers have an opportunity to buy land at reasonable prices and to sell the produce of their land through their own organizations, when workers have the opportunity to form unions and bargain through them collectively, and when the children of all the people have an opportunity to attend schools which teach them truths of the real world in which they live — when these opportunities are open to everyone, then the world moves straight ahead.” Well, the world has continued moving since those words were spoken, but those opportunities are certainly not yet open to everyone despite promises all around that anyone in America should be able to succeed on grit and good will alone. When grit and good will fail to deliver, some people give up and some people become outlaws. That’s where we find our protagonists in this movie, Toby and Tanner Howard (Chris Pine and Ben Foster, respectively), as it opens. They’re robbing banks out of perceived necessity, and also out of a sense of Karma not acting quite fast enough for their liking. Meanwhile, a pair of Texas Rangers (Jeff Bridges and Gil Birmingham) get assigned to the case and aim to catch up with whoever’s responsible and give ‘em hell. The film is beautifully shot by cinematographer Giles Nuttgens, and the screenplay contains scintillating dialogue and the kind of characters you might find in a classic Western, plus a final showdown for the ages. On the performance side, there’s not a weak one in the bunch. Chris Pine proves he’s more than just a pretty face and Jeff Bridges sheds his Dude persona to give an even better performance here than in his Oscar-winning turn in Crazy Heart. If you need a movie to watch with your Dad that you can both enjoy, this is that movie.

15. De Palma (Amazon Prime) Sisters. Carrie. Dressed to Kill. Blow Out. Mission Impossible. Body Double. Scarface. The Untouchables. Casualties of War. About 20 other films--all directed by Brian De Palma, the subject of this documentary. For some, he’s alienating. For me, this guy is legendary. His films pick up where Hitchcock left off and go running off in their own bonkers directions, oozing style and excess and delivering tawdry and thrilling twists along the way. I’m convinced that one day he’ll be revered by film students and not just genre lovers, and at that point this doc will serve as a Hitchcock/Truffaut type text. The doc is really just De Palma going through his filmography chronologically, shots of him talking edited together with clips from every one of his movies and archival behind the scenes footage. That might sound boring but I promise you it is not. He tells lots of stories, does not shy away from pointing out the flaws and issues in his movies, and reflects on the reception his movies have received from critics and cultural scholars over the years. He also tells some fascinating stories from his youth that shed light on the types of movies he grew up to make. He also talks a lot about his techniques and the way his shooting style developed. If you are interested in filmmaking or De Palma or both, this movie will have you riveted from start to finish.

14. Manchester by the Sea (Theaters) For a meditation on grief and loss, this movie made me laugh a lot. That might sound inappropriate, but if you’ve ever experienced loss yourself, you know it’s not linear and doesn’t follow rules or codes of conduct. Sometimes you laugh at inopportune times. Sometimes you want to cry and can’t. Sometimes you melt down at the sight of frozen food (see what I did there? Melt/frozen! Ahh I kill me sometimes). Casey Affleck and Lucas Hedges make a great onscreen team, with Affleck playing Lee Chandler and Hedges playing Patrick, Lee’s teenage nephew. They’ve both lost someone important to them, but neither is great at opening up on the subject. Lee does his best to take care of his nephew, but he feels ill-equipped to be the stable parental figure Patrick needs. For his part, Patrick would prefer to keep things the way they are. “I have two girlfriends and I’m in a band!” he points out, and who is Lee to argue with that kind of logic?

Of course I can’t finish discussing this movie without highlighting the luminous presence of Michelle Williams, who owns every second she’s onscreen (which isn’t very long). Her final scene with Affleck broke me right in two.

13. Born to be Blue (Digital Purchase) Every year springs new musical biopics upon us, to varying degrees of creativity and critical acclaim or derision. My favorite one from 2016 was Robert Budreau’s nonlinear narrative inspired by incidents from the life of Chet Baker as portrayed by Ethan Hawke, who gives his best performance outside a movie with “Before” in the title. For the unfamiliar, Chet Baker is best known as the singer of “My Funny Valentine” today, but he was also a prominent jazz trumpet player and part of the West Coast jazz scene in the 1950s and 60s. As so many artist types, his genius was often threatened by his dalliances with substances and people whose momentary glamor gave way to decay and destruction.

Hawke captures Baker’s charming qualities as well as his tendencies toward self-sabotage, and the movie does not feel like a typical biopic as it incorporates a more meditative approach than a chronological one. There’s also a movie-within-the-movie which adds to the novel feel and keeps this from just hitting all the major events in Baker’s life in order. Carmen Ejogo is excellent as Baker’s primary love interest, a complex and well-drawn foil for the troubled musician. Her character is an amalgam of real life people, but she stands out as more than just your typical long-suffering wife/lover trope.

12. Fences (Theaters) August Wilson’s intimate play gets the cinematic treatment at the hands of Denzel Washington, who both directed and stars here. Troy (Washington) is a garbage man who drinks a lot and talks a lot more to his wife Rose (Viola Davis), his friend Bono (Stephen Henderson), his son Cory (Jovan Adeppo), and others who show up at his doorstep. The story is simple, but the characters are anything but. This may be my favorite ever Denzel performance, and certainly my pick for Best Actor in a Leading Role of 2016. Davis is phenomenal too, in a quiet but steady way. And not as many people are talking about Stephen Henderson, who played Bono in the play as well as the movie, but he’s excellent. If you want to hear beautifully written dialogue (and monologues), see some of the year’s best performances, and be moved by a family drama that feels relevant even though it was written and set in a bygone era, go see Fences.

11. Midnight Special (On Demand) In the first of two Jeff Nichols-directed movies that came out in 2016, Michael Shannon (a frequent Nichols collaborator) is a father trying to protect his son. The boy has some unique abilities, to say the least, and everyone from cult leaders to government agencies wants to exploit those abilities. It’s part superhero origin story, part Close Encounters of the Third Kind, and all about the joy, terror, and unbridled love that come with being a parent. The movie features memorable visuals as well as supporting performances from Joel Edgerton, Kirsten Dunst, and Adam Driver. The ending may leave you with more questions than answers, but the emotions it evokes are unmistakable.

10. Tower (iTunes) In 1966, a lone gunman stood atop a tower on the University of Texas campus and opened fire on the unsuspecting people below. For the next 96 minutes, chaos and carnage took over the scene as law enforcement and campus officials tried to devise a way to stop the shooter without endangering more lives. This documentary tells the story of that day from the perspective of people who were there, using interviews and re-staging events using rotoscoping animation. The result is one of the most powerful documentaries in recent memory (outside of Joshua Oppenheimer’s The Act of Killing and The Look of Silence). Hearing from victims, bystanders, police officers, journalists, and students who experienced this firsthand reveals so much about the nature of trauma, the way we react in extreme circumstances, and the contrast between what was then a first-of-its kind incident and what is now an all too frequent occurrence: The campus shooting spree. It’s never preachy, just lets each person tell their own story. Always, the focus is on the people on the ground rather than the person behind the violence. It’s a must-see film.

9. Arrival (Theaters) Denis Villeneuve has become one of my favorite directors of recent years, and it’s great to see a film of his get embraced so widely by audiences as well as critics. In case you haven’t yet seen it, this movie features Amy Adams as a linguist and Jeremy Renner as a scientist. Both of them have been recruited to help the government communicate with the aliens who have recently parked giant pods all over the world. The movie opens with a much more human story, and if you cried at the beginning of Up you will certainly shed tears here too. I won’t give more away than that, but what happens informs the emotions and decisions made throughout the film in interesting ways. I love the visuals of this film, and the emotional arc of the story. I also adored all the technical linguistic things that were going on, and I don’t know enough about science or language to know whether they were plausible so I’m just going to assume ignorance is bliss and aids in suspension of disbelief. There is one scene that seems to create a divide in audiences between loving and hating this movie. I won’t explain beyond saying it involves a phone call, so if you’ve seen it you know what I’m talking about. I can understand the criticism, but for me it was not enough to derail all that came before and after. If you haven’t seen this yet and you like your science fiction with a few tugs on the heartstrings, this is definitely worth your time.

8. The Lobster (Amazon/iTunes/GooglePlay Rental) I adore this movie, but that does not mean you will. I have to put that caveat right up front. In fact, at least one person I recommended this movie to absolutely hated it. So, take my opinion with a grain of salt but I will try to convey truth in advertising. Yorgos Lanthimos, whose previous films were Dogtooth and Alps, makes his English language debut with this dystopian romantic comedy. Colin Farrell, John C. Reilly, Rachel Weisz, Ben Wishaw, Lea Seydoux, and Olivia Colman are the human subjects who populate the story. In their world, if you find yourself without a partner, you go to a hotel where you have 45 days to pair up with someone. If you do not find a suitable match, then at the end of 45 days you get turned into the animal of your choice. You can extend the time of your matchmaking opportunities by going out to the forest and hunting “loners,” people who have escaped from the hotel in the past and choose to live lives of solitude. It’s a wacky premise, but leads to numerous laugh out loud scenarios in addition to the more plaintive moments. I should warn you that there is a scene or two of violence involving an animal, which may be tough to watch for some. That may be one of the reasons people hate it. But as a critique of human behavior and society’s obsessions, it’s quite an effective parable.

The latter half of the film takes a different turn, and while I don’t want to give away what happens, that’s why I called this a “romantic” comedy. You may not want to watch it with your date on Valentine’s Day, but if you do it should certainly give you much to discuss afterward.

7. April and the Extraordinary World (YouTube/Vudu/GooglePlay/Amazon Rental) This animated steampunk French film features a talking cat and a whipsmart girl and an underground lair and a bunch of other wondrous things that I don’t dare attempt to describe. It’s an alternative history film, it features the voice of the marvelous Marion Cotillard, and it should’ve been nominated for Best Animated Feature at the Oscars. Alas, it was not. But if you want to watch a gorgeous, funny, charming film that might inspire a generation of girls to go into STEM careers, watch this.

6. The Neon Demon (Amazon Prime) I feel intoxicated every time I even recall this sumptuous film. If you missed my review of it earlier this year, go check it out and then go watch this film... if you dare.

5. Sing Street (Netflix) This is, hands down, the feel good movie of the year. Written and directed by John Carney, who gave us Once and Begin Again, this film is set in Ireland in the early 1980s. The premise is simple, really: A boy starts a band to impress a girl that’s out of reach. Not only does he hope to impress her with the music, but he convinces her to star in their music videos since she’s seeking a career as a model. Then he has to actually form the band, and learn how to play instruments and write songs. Along the way, his older and cooler brother educates him on the cool musicians of the day: The Smiths, Duran Duran, The Clash, The Jam, Hall & Oates, The Cure, Spandau Ballet. The original songs in this film are super catchy and fun, and serve as homages to the great bands referenced above. If you’re a sucker for the films of John Hughes, the music of the 80s, and stories about brothers and coming of age and following your dreams, this is the movie for you.

4. The Handmaiden (Theaters) Take a novel set in Victorian England about pickpockets, conmen, and insane asylums that’s been referred to as “lesbian Dickens” (Sarah Waters’ Fingersmith), and set it in colonial South Korea, and make sure it’s directed by the guy who made Oldboy. This is a recipe for the most gorgeously photographed, erotically charged, bonkers in the best way movie of the year. I don’t want to get too far into the story which has so many delicious surprises, but the quick version is that an orphan pickpocket goes to live with a rich but possibly mentally ill young woman to serve as her handmaiden. This is all in an attempt to con said rich young woman into a marriage plot with a smooth talking ne’er do well man. And there’s also the added wrinkle of the rich girl’s creepy uncle, who collects banned erotic books and holds readings in his library for men who pass through. It’s a very unsettling atmosphere for two young ladies, and they form a bond with one another in spite of themselves. There are moments of horror, laughter, and blush-inducing romance in this unrated film (don’t watch it with Grandma unless she has a very open mind and you have a very comfortable relationship). Its runtime is 145 minutes but I wanted to stay in this world forever.

3. Green Room (Amazon/iTunes/GooglePlay Rental) We lost too many good people last year, and Anton Yelchin was one of the losses that hurt the most. In this movie, he gives arguably his best performance as a member of a punk band that gets in way over its head when they take a gig for gas money that takes place in a remote area where most of the audience is neo-Nazi skinheads. They get through the performance, uncomfortable as it is, but the real trouble happens later when one of them witnesses something their hosts really don’t want them to see. From there, it’s a tense stalemate as the band members have to improvise and evaluate who can be trusted. The movie is directed by Jeremy Saulnier, who gave us the excellent and underrated Blue Ruin a few years ago. This one has a similar blend of regular people in irregular situations, with plenty of blood and gore but also a fair bit of humor and a whole lot of real raw punk rock, both on the soundtrack and in the aesthetic. It helps that Saulnier was in a band himself back in the day, so he brings a real authenticity to the characters in the movie. This stayed atop my “best of the year” list all the way into December, when I finally saw the last two films on my list. I’ve watched it multiple times and would watch it many more. If you took delight in a video of a Nazi getting punched a few weeks back, you should definitely watch this movie. And if you didn’t, well, you should still watch this movie.

2. Moonlight (Theaters/Digital Purchase) Barry Jenkins (director/co-writer) and Tarell Alvin McCraney (co-writer) have created a moving, timeless piece of visual poetry in this film that captures three significant chapters in the life of a young man named Chiron. When we first meet him, he’s maybe six or seven years old and people call him “Little.” He hides out in an abandoned house to escape from neighborhood bullies, and is discovered by Juan (Mahershala Ali), a local drug dealer with a complicated moral compass. Juan and his wife Teresa (Janelle Monae) become de facto surrogate parents to Little, whose mom (Naomie Harris) works late and brings random men home and sells their belongings off piece by piece to afford the drugs she craves. In the second chapter, Little is now “Chiron,” in high school and life hasn’t gotten easier. He’s still quiet, still has a troubled relationship with his mom, and feels pretty alone in his peer group with the exception of his friend Kevin. He and Kevin share an unexpected but life-changing evening on the beach that is intimate and believable and raw. The next day at school, however, another life-changing exchange takes place between the two young men and this one is even more visceral in its immediate and long lasting impact on Chiron’s future. Finally, we see him as “Black,” a little older and transformed from the skinny vulnerable teen into a muscular, physically intimidating presence. He’s clearly fighting against his past by embracing everything he can to seem larger than life and untouchable, in both his physical appearance and his lifestyle. He gets a phone call one night that reconnects him with a part of his past he could never quite shake. I won’t spoil what happens next, but the final twenty minutes of this movie are a perfect encapsulation of long-suppressed feelings finally forcing their way out into the open. It’s such a personal story, but the specifics make it so relatable that it feels universal in its specificity. The performances in this movie are wonderful, the cinematography is gorgeous, the score is amazing--I could go on for years. To me, this movie showed a story I’ve never seen on screen before, from a perspective that’s completely underrepresented in pop culture. It never feels manipulative or stereotypical or preachy--just real and achingly human. Some moments in this movie have replayed themselves over and over in my mind hundreds of times, and even having seen it twice in the theater I can’t wait to study every frame of it on multiple viewings once it’s available on Blu-Ray. I want it to seep into my bones the way it seeped into my heart. 1. La La Land (Theaters) “This is the kind of movie that just fills your heart up,” I texted a friend the second I exited the theater after seeing La La Land the first of three times (and counting). And every time I watch it, my heart overflows a little more. Here’s a film that will resonate differently depending on your frame of mind when you watch it, the same way Eternal Sunshine of the Spotless Mind can feel funny or sweet or tragic or dark or romantic depending on your current relationship status. At first glance, Damien Chazelle may seem to be showing off in his follow up to Whiplash, tapping into an easy sentimentality that short circuits our center of reason by throwing in references to Singin’ in the Rain, Casablanca, West Side Story, and an LA that probably only ever existed in the imaginations of the people who never actually visited the City of Stars but fell in love with its many portrayals on the silver screen. And yes, Hollywood does love stories about itself and yes, the novelty of an original movie musical does scream “anachronistic film school prodigy.” So I get the skepticism, I truly do. I can’t promise this movie will live up to the hype of a record-tying number of Oscar nominations for you, but I can tell you that it means so much more than that to me. It’s not just another charming but forgettable throwback (I’m looking at you, The Artist). In case you haven’t yet experienced this movie, a quick breakdown: Sebastian and Mia, portrayed by Ryan Gosling and Emma Stone, are both in LA chasing their dreams of artistic success. He’s a jazz pianist; she’s an actress. Neither has quite made it, and “making it” to them means doing something authentic on their own terms which makes success even more elusive. Compromise may be part of real life but neither of them is quite ready to give up the fantasy yet. Their relationship starts off adversarial, then tentative, then before you know it they’re literally floating into space so carried away are they with love and visions of a future together. The stages of their lives and the story are divided up by seasons, and sure as summer follows spring, you can’t get through the year without the fall. Fall in this movie has a double meaning, and the cute flirty interludes give way to frustrated sighs and changing priorities. Other seasons follow, which I will not spoil, but I will say that the final five or ten minutes of this movie could stand on their own and still be my favorite film of 2016. People compared Whiplash to The Red Shoes, and I would make the same comparison to this film although for different reasons. The ballet sequence of The Red Shoes and the final sequence of La La Land share an artistic splendor the can induce wonder and catharsis in equal measure. I’m prone to quoting Charles Bukowski, so I’m going to close by quoting him again. I think the following poems explain the core of this film, and why it resonates so much with me: “the area dividing the brain and the soul is affected in many ways by experience – some lose all mind and become soul: insane. some lose all soul and become mind: intellectual. some lose both and become: accepted.” --You Get So Alone at Times That it Just Makes Sense “if it doesn't come bursting out of you in spite of everything, don't do it. unless it comes unasked out of your heart and your mind and your mouth and your gut, don't do it. if you're doing it for money or fame, don't do it. if you're doing it because you want women in your bed, don't do it. unless it comes out of your soul like a rocket, unless being still would drive you to madness or suicide or murder, don't do it. unless the sun inside you is burning your gut, don't do it. when it is truly time, and if you have been chosen, it will do it by itself and it will keep on doing it until you die or it dies in you. there is no other way. and there never was.” --So You Want To Be a Writer?

#best films of 2016 #lists #movie reviews #la la land #moonlight #arrival #sing street #green room #the handmaiden

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pussymagicuniverse · 5 years

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my top 5 mac ‘n’ cheese movies

what is a ‘mac ‘n’ cheese’ movie, you might be wondering?

these are the movies that always make you feel good. they don’t need to necessarily be “feel good” films. not all of mine are. these are the movies that you could always put on your Netflix at home (granted it’s on there), always put in the DVD (if you even have any) player, or always leave on while you’re channel surfing (if that’s even a thing you do these days). these are the movies that are “comforting” background noise or movies you never get sick of, no matter how many times you’ve seen them. these are the movies that, if you live alone, will make you feel like you have friends with you. these are the movies that, if you’re feeling alone, will bring solace to your loneliness.

these do NOT have to be:

award-worthy

“good” films

from any specific genre or decade

popular

simply, these are the films that somehow, your spirit is comforted by their essence. maybe through memory, or sound, or childhood… it doesn’t matter. just having these on in the background is soothing to my soul. we can pay attention, or not. we can be cleaning, doing the dishes, working, etc. and it just FEELS GOOD to have them on in the background.

the following movies are my film mac ‘n’ cheese, in no special order.

•

Clueless (1995)

“Searching for a boy in high school is as useless as searching for meaning in a Pauly Shore movie.”

i said no special order, but of course, i’m going to put Clueless, the beloved classic, first.

Clueless has always been my go-to “favorite” movie. not to age myself or anything, but yes, even before it was “cool.” i’m a ‘90s kid, and my first memories of this movie are watching it at my aunt’s house when she’d babysit me when my dad worked weekends. i was actually 5-6 years old when it came out, so it was ingrained in me very young, for better or worse.

speaking of better or worse, i know that everyone now loves to bring up the weird fact that *spoiler alert* Cher ends up with her ex-step-brother, Josh… but i didn’t say these mac ‘n’ cheese movies had to be perfect. so even though now i watch with a tiny tinge of ‘ew?’ in my brain, i allow timeless Paul-Rudd-dreaminess to wash away all of the potential ickiness that somewhat does not make sense.

and please note that i am not excusing step-cest because the general thought of that is very, very ew and evokes quite a visceral response from my entire being.

(did you like how i said that last sentence in my best Cher voice?)

also speaking of better or worse, because i also grew up thinking that i would find the love of my life by not realizing i loved them at all or pretending i didn’t know i loved them at all until ONE DAY i would be standing by a fountain after a therapeutic shopping spree like, ‘WAIT… I LOVE THEM. AND THEY LOVE ME TOO?!’ be careful what you wish for, kids. it can happen… and not always how you want it to.

regardless of all this negative-sounding analysis, i have always loved this movie and i’m certain i always will.

Scream (1996)

“my parents are gonna be so mad at me!”

my favorite part about this choice is that my friend deemed it a “hot take,” and i will die on that hill if i have to.

Scream is one of my favorite horror films. firstly, this movie is not typical horror. sure, it’s horrific at times… mostly in the opening scene, whereafter it becomes more of a (highly witty) teen comedy with (a lot of) murder. i think while true horror fans can appreciate the merits of Scream, what it did for the genre, and Wes Craven’s meta expertise, and also agree that it’s “not scary.”

if someone could have The Exorcist, or, for a more modern reference, Hereditary and just have it on any time, i’m not sure i could subscribe to that. but Scream is (thankfully) not either of those movies. it’s horror lite for ‘90s kids like me who, at times, revel in their teen ‘90s nostalgia. although, i have to say, i have seen someone recoil just at the mention of such a mild horror film. and i thought i was a weakling in horror. however, now that i’ve seen Hereditary (AND SURVIVED!), i feel like i can handle most things, though i am fairly certain i will not test those waters.

not to mention:

Dirty Dancing (1987)

“You Just Put Your Pickle On Everybody's Plate, College Boy, And Leave The Hard Stuff To Me.”

A CLASSIC! i’ll save most of my opinions for another piece i’m writing, but here’s the take: this movie is classic, heartfelt, funny, meaningful, political in mostly the right places (it doesn’t focus on everything), and babealicious in all the right places (Patrick Swayze, Cynthia Rhodes who plays Penny, Jennifer Garner, hello––a triad we’d all love to see if the movie had gone THAT progressive––but then it never would’ve been made. it already had a hard enough time, let’s not get carried away).

so far you can probably sense the ongoing theme in my choices: the air of nostalgia. film geeks and those who just heard Stan’s spiel on VHS in I Am Not Okay With This on Netflix will understand. while i’m not watching these movies on VHS, there is something about the feeling of these films. and i’d argue that everyone has favorite movies that pertain to their tastes and interests that fall under this physical sensation of 20th-century film. i’m not nostalgic for the time itself, i don’t need to relive the decades (don’t we daily? in our pop culture, in our fashion, everything)… it’s just that these films are comforting for very personal reasons that have nothing to do with the rest of the world. which is why your mac ‘n’ cheese list will look very differently from mine. it’s kind of unexplainable.

in 8th grade, i watched this movie every day after school because my friend just had to. she was obsessed. years later, we feel the same about this movie. it has this summery vibe to it. i guess there’s something about summer, and something about fall that both tug at my sensibilities in film and literature… the way they’re shown or described. it can be kinda magical. Dirty Dancing does this for me. this scene brings me to tears often.

Moana (2017)

“There is nowhere you could go that I won't be with you.”

stepping out of nostalgia (it’s a relief, honestly), we have my favorite Disney cartoon of the twenty-teens. Coco is up there, but Moana is something else (for me). one day i will also write more in detail about the beauty of this film and what it means to me, but maybe that’s not for me to write.

Moana is about a young woman who is set to become the next chief of her Hawaiian island. but as she grapples with that path for her life, a crisis descends. Moana ends up having to save her family’s island (and the world, essentially, because this curse/disease would spread far beyond their home) from destruction because of the demigod, Maui, who robbed the heart, a glowing lime stone, from Goddes Te Fiti, who kept life flourishing and abundant. it can easily function as an allegory for global warming as well as some other things i may get into another time… but it is so much more than that. it makes me cry nearly every time i watch. i deeply resonate with Moana needing to carve out a way for herself that her family (specifically, her father) might not agree with, but she has to do anyway for her ancestors and her own spirit.

between her sweet and sentimental relationship with her grandmother, the call of her ancestors, and the courageous anthem, “How Far I’ll Go,” that she sings throughout the film––it is not only beyond precious and meaningful, an homage to the feminine, but also doused with humor throughout. i literally feel my heart swell when i watch this and it’s a movie of self-care for my inner child. i can’t fully explain the connection i feel to this film but i know that i very much wish i had this film when i was an actual child! and i can’t wait to show it to my future children. especially my daughter(s).

and last but not least…

10 Things I Hate About You (1999)

“What is it with this chick, she have beer flavored nipples?”

it was SO HARD for me to choose one 5th film. i mulled about it for weeks. but this one is a classic i could never tire of. it was the perfect movie to tie up the ‘90s.

10 Things, ah yes, the story of two sisters on their high school dating (or not) journeys. this movie is hilarious and very cleverly derived and adapted from a Shakespeare story: The Taming of the Shrew (which they reference in the film, and i love that they do because i’m a reference nerd), while, fun fact (i’m also a fun fact nerd, i’ve recently discovered)!: Clueless was derived from Jane Austen’s, Emma.

besides Julia Stiles as Kat being a powerful and perhaps overly-feminist voice of her generation (hey, it really worked for the ‘90s) and Andrew Keegan who plays Joey “eat me” Donner mocking a large chunk of his, we also have Joseph Gordon Levitt as the lovable boy next door, Heath Ledger as the bad boy, Patrick Verona which, sidebar: isn’t that name totally sexy? (who’s character is surprisingly funny under his straight-faced guise), and the character i think is potentially the funniest AND most overlooked: David Krumholtz as Michael. but David K. tends to get overlooked a lot, doesn’t he? unless you want to throw Larry Miller as funniest character competition playing Kat and Bianca’s dad, because he is also perfectly on point with the dad jokes and over-the-top push for celibacy, which really does carry the plot of this film. not to mention their English teacher, who is hilarious and real.

this movie is back-to-back laughs to me. it can be subtle and it can be direct. it’s just all around well done. if you haven’t seen it, i highly recommend. between the cast, the writing, the soundtrack even… it’s a beloved comedy classic. its humor outlasts its decade (despite some stuff that probably wouldn’t make the script nowadays) and its heartwarming moments carry it through to being a genuine film. while this film doesn’t garner the attention of some other ‘90s teen comedies, like Can’t Hardly Wait, or She’s All That, i do believe it is more deserving.

besides, they gave us THIS EVERGREEN GIFT?!

Honorable Mentions (or where i expose my johnny depp obsession that has only mostly subsided):

Valley Girl (1983) - another one that i love so dearly in my heart… look out for another article about this one!

Blow (2001)

Pirates of the Caribbean: Curse of the Black Pearl (2003) – it’s an understatement to say i was obsessed with this film when it came out.

Black Snake Moan (2006)

Pulp Fiction (1994)

Ed Wood (1994) – if you haven’t seen this movie and want to see Tim Burton with genuine talent, watch. Johnny Depp should’ve been nominated for an Oscar, or at least a Golden Globe, for his portrayal of the disgraced movie director, Ed Wood.

Or any very old Disney cartoon: Cinderella, Sleeping Beauty, The Rescuers, Jungle Book, Robin Hood - for some examples.

tell me, Soulbabes… what are YOUR mac ‘n’ cheese movies?

comment below or tweet us @pvssymagic or tweet ME @samantharosej!

The Creatrix and Editor in Chief of Pussy Magic, sam is a writer/editor originally from the Bay Area. Her work outside of writing revolves around the merging of spirituality and wellness to foster community, raw self-expression, and holistic healing to honoring our sacred selves: mind, body, and spirit.

sam is the author of L’ACQUA (2017), the columnist of Sacred Wild Exile at Pussy Magic, the host of Satin Soulbits, a limited-series podcast focused on womxnhood and sexuality, and editor of the Satin Soulbits Blog. Her writing has been featured in The Sonnetarium @ Rhythm & Bones, Occulum, ILY Mag, Rose Quartz Magazine, Tiny Flames Press, and more. sam offers Sacred Serpent Writing + Healing sessions to bring people more intimacy with themselves and their writing which you can find more info about on her website. She currently resides in Los Angeles with her partner and plant babies.

Find more about sam, her writing, and her offerings on her website and follow her #soulbits on Instagram.

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