Gossip Central

Allen v. Farrow on HBO: Hearing Dylan Farrow

Perhaps you are wondering, is there anything more to say about this decades-old very public scandal? To recap, Woody Allen’s adult daughter Dylan has accused him of molestation when she was seven. Even in his most recent 2020 memoir, Apropos of Nothing, Allen proclaims innocence, affirmed in the courts and in a lie detector test. Allen writes that the charges against him were instigated by Mia Farrow, a woman scorned as Allen dumped her and married her daughter Soon-Yi, adopted with her husband Andre Previn. On the Allen side, many believe him. Yes, that story is now revived in a riveting 4-part documentary, Allen v. Farrow, to air on HBO. The filmmakers, Kirby Dick and Amy Ziering, with Amy Herdy, contend that key voices were not heard, mainly Dylan’s. To agree with them, the assertion that the abused must be heard alone makes this documentary a compelling, must-see testament. In this era of reckoning: by revisiting allegations of abuse, the film shines a light on the psychological damage, the fragility of parenting, the processes of healing, and the tiresome nature of celebrity scandal--even if, especially if, you come away with the central issue of the abuse unresolved.

Two of Us: A French Feature is Nominated for a Golden Globe

France’s entry for the Best International Feature Academy Award, Two of Us, is now nominated for a Best Motion Picture-Foreign Language Golden Globe. A story of secret love, two women of a certain age attempt to take the next step in their relationship when something goes terribly wrong with one of them. Families take charge. Following a recent preview screening, director Filippo Meneghetti spoke about his astonishment, that his feature debut would become France’s choice. But his casting of the superb actress Barbara Sukowa to play Nina, a tour guide who stays in a small provincial town in the south of France to be with Madeleine, her neighbor on the same floor of an apartment building, might explain France’s decision regarding this movie. And, the casting of Martine Chevallier, an actress from the Comedie Francaise, for Madeleine is brilliant, as the story shifts when her character has a stroke that leaves her mute. Both actresses are simply riveting, in rage, as when Nina smashes up a car, and in tender moments as they spoon in bed.

The Golden Globes Goes Bi-Coastal

Back in the day, film insiders would say, the Golden Globes was the Hollywood event of the year. The champagne, the parties, the sheer weight of the statue—the air of frivolity for this serious award given by the Hollywood Foreign Press. Protracted in a pandemic, the nominations, announced today, had few disappointments, and few surprises: lavish praise for Promising Young Woman (nominations for Best Drama, Best Director and Best Screenplay to Emerald Fennell, Best Actress in a Drama for Carey Mulligan.) Nomadland was favored in top categories: Best Drama, Best Actress in a Drama, Frances McDormand, Best Director and Screenplay for Chloe Zhao. David Fincher’s Mank got a whole lotta love too, as did The Father with Anthony Hopkins’ especially great performance in the title role, and Aaron Sorkin’s Trial of the Chicago 7 featuring an ensemble of A-list actors. Mank, an inside Hollywood story, led with 6 nominations. These are the films that have been circling around for top prizes. Expect to see them at Oscar time.

Carey Mulligan in Promising Young Woman: Awarding a Revenge Fantasy

As awards season ratchets up, Carey Mulligan’s performance in Promising Young Woman is the one to beat for over-the-top best actress accolades. She plays a sharp-witted young woman who has had enough! The National Board of Review named Mulligan Best Actress, and screenwriter/ director Emerald Fennell is slated for the Independent Spirit Award’s Best Director. Capturing the Zeitgeist, Promising Young Woman promises recognition for this film, lingering way past its final moments: even as it becomes most outlandish, it rings most true.

The specter of Brett Kavanagh’s unmanly past at a frat party hangs over Emerald Fennell’s feature debut, Promising Young Woman, as do the million microaggressions endured by girls/women finding their place in the world. Carey Mulligan portrays Cassie, a medical school dropout, aprowl in bars at night, picking up men who see her, drunk, out of it equating with easy prey, easy lay. Legs astride, makeup dripping, her look signals anything but control, but she’s got a trick waiting. As they undress her, she bolts up, confronts their predations and takes off, a quiet act of revolt.

Sam Pollard’s MLK/FBI: Reflections on a Complicated Legacy

 “I love America,” filmmaker Sam Pollard asserts, interviewed by The New Yorker’s Jelani Cobb, “but it’s a complicated, fucked up place.” The occasion was the opening of his latest documentary, MLK/FBI, released in time for Martin Luther King, Jr. Day; the interview from the fall, predated the events of January 6 that more than anything proves the statement true. As is the case with other films he’s worked on, Eyes on the Prize II and 4 Little Girls among them, Pollard revels in complicated, teaching “Anything in America is layered in complexity.”

Rebranding the The Gotham Awards

Breaking news: the IFP Gotham Awards will now be called The Gothams. Kicking off the awards season, this week’s celebration of “indie” or lower budget films managed to recreate the Gotham experience, seating guests at their packed tables in the cavernous Cipriani Wall Street, virtually, of course. Sipping my wine, I could kibbitz with fellow journalists. Let us say, no one was commenting on the celebrities’ gowns, glitz, or hairdos. For the occasion, I did wear makeup—and a sweater over yoga pants (not pajamas) instead of my usual cocktail dress. I did not work the room, but I enjoyed the experience of seeing Cadillac Escalades occupy the space, along with a few lone well-distanced high-rise tables near a stage with red velvet curtains. Elegance was maintained. I could see that I was not alone feeling out the possibilities. Early on, when the Best Documentary award went to two films, A Thousand Cuts and Time, onlookers heard the winners mutter, “I don’t see anyone. This is weird.” Alone in a room, we were not alone.

Hilary Swank in Fatale: Bridging Two Hollywoods

Two-time Academy Award winning Hilary Swank may be the most famous name attached to the new noir feature, Fatale, but, said director Deon Taylor in a Q&A after a virtual special screening, for black audiences Michael Ealy is a bigger star. Debate this point all you want. These actors are sublime in Fatale, acting out a pas de deux between a police detective and a crime suspect, so nuanced and sexy—Taylor conceived the idea—where race is key to the convolutions of the plot. “There are two Hollywoods,” said Taylor, “white Hollywood and black Hollywood. Hilary Swank did not know who Michael Ealy was.”

Tom Hanks in Paul Greengrass’ News of the World: Does the Right Thing

Back in the early days of the coronavirus, when we heard the news that Tom Hanks and Rita Wilson, on location in Australia, tested positive for COVID-19, a cry could be heard round the world. How could Hollywood’s essential decent man, in every role—think Sully or Captain Phillips--, and his image in person, be so vulnerable? Playing Capt. Jefferson Kyle Kidd, a Civil War veteran in 1870, in Paul Greengrass’ latest movie, News of the World, Hanks inspires one thought: he’s everything you’ve ever loved about him and more.

Maybe with Joe Biden at the helm, decency has increased cache: Capt. Kidd, coming upon a rogue child, a doubly traumatized blond 10-year old he calls Johanna in the woods at the site of a lynching, takes it upon himself to bring her (the superb German actress Helena Zengel), home. America is still the wild west, and much of this trip through harsh landscapes chased by desperados, is beautiful to look at, yet harrowing.

Christmas at Moran Studio: Peaceful Holiday Cheer

When he wasn’t in a brownstone in Chelsea, the painter Thomas Moran occupied a studio on Main Street in East Hampton. “A shingled two-story boardinghouse with a smoking chimney” facing the pond, described the late Robert Long in his 2005 book, De Kooning’s Bicycle. In the late 1870’s, “Moran thought that this could be his Fountainebleau.” Visible from Montauk Highway, the stately “cottage” was in disrepair for years, and has been restored as an exhibition space for Moran’s etchings, and this year, for a Victorian Christmas.

Denzel Washington’s Vision: The Museum of the Moving Image Honors Ma Rainey’s Black Bottom

Blues singer Ma Rainey was plus sized in many ways, most especially her voice. In a new film based on August Wilson’s play Ma Rainey’s Black Bottom, Viola Davis gives her Ma a grimace to go with her mega-sound, as large as life for blacks in America. Davis’s Ma is a grand performance balanced by that of one of her horns-men, lithe Levee, played with charm cum mischief and madness by Chadwick Boseman. Ruben Santiago-Hudson adapted Wilson to perfection in this gem, and this week, the movie, to air on Netflix, had its premiere at the Museum of the Moving Image gala. Virtual, this event was a state-of-the-art forum on the movie’s production, starring Viola Davis and cast, costume designer Ann Roth, director George C. Wolfe who accepted an award from producer Denzel Washington.

Washington, a longtime interpreter of August Wilson’s art, vowed to make the playwrights’10- play cycle, one for every decade of the 20^th century, into film. That vision started with his direction of Fences in 2016, an Oscar nominated film in which he starred with Davis. While Fences does not take place in a recording studio, Wilson's dialogue is always rhythmic. Speaking about the musicality of Ma Rainey, the actors talked about filming with rehearsal time as if this were a staged production, and the bond created among the players. The actor Glynn Turman, Toledo in Ma Rainey, recounted Denzel seeing him in a production of the play and saying, “Stay ready. I stayed ready.”