The Battle of the Tennis Movies

LaBeouf and Gudnason.

TIFF just opened its doors and premiered with the anticipated Borg/McEnroe with Hollywood's favorite bad boy de jour Shia LaBeouf as the favorite bad boy of tennis John McEnroe, and newcomer (at least to American Cinema) Sverrir Gudnason as Björn Borg; the machine. This film (bio-pic what have you) is about the 1980 Wimbeldon match. The first Wimbeldon and Borg in his record-breaking 5th. It was perhaps the most important match of 21 year old's McEnroe's career and just so happened to be the first out of the gate. He was the only thing standing between Borg and a record of 5 straight Singles Men's Wimbeldon wins. This is all before McEnroe started a reputation of yelling at referees, throwing rackets, and just turning the whole sport into a spectacle. Don't get me wrong, he's talented AF, so the spectacle was still one hell of a sport to watch when McEnroe was playing it. That's perhaps why LaBeouf was cast. Perhaps they are kindred spirits. The film premiered a few nights ago, and LaBeouf received almost universal praise for his portrayal of the tennis legend even though he looked nothing like him nor really played tennis.  

The real Borg and McEnroe minutes before their showdown. Costume and makeup are going to get major props for this. 

LaBeouf is a damn good actor (as tired as that hyperbole is), and yeah I said it so you know where I stand. I haven't seen the film yet, but I'm optimistic as hell. Everything about it looks like those great sports movies that used to exist in the 80's before Disney had to go fuck it all up; one word - Miracle. 

The only person that didn't praise his performance was the man himself, shocker. But I also want to see if Sverrir was any good and coming from a Swedish/Icelandic background I'm sure he's a machine, much like Borg. But what I really want to touch on and provide a good segway into the next film is the idea of sports films. In the 80's you had really great sports films; from Chariots of Fire (which started the trend), to The Natural, to Hoop Dreams, to Breaking Away.  It all climaxed with Field of Dreams, and then it all went to shit. And my generation was stuck with crap like Blue Crush, Hot Shots! and fucking Varsity Blues. What the hell happened there? I'm not big into sports but my god. Yeah, have a protagonists perhaps two and make it about the primal struggle which is basically what sports is. It's about winning and losing, no philosophy, no fuss. Just simple human competition. That's drama right there. I believe that these two films are going to restore that void that's been missing in cinema. Some sports moments last forever. One of which that I'm sure everyone has heard about is the Miracle on Ice in 1980 when team USA beat the Soviet Union in the Olympics. Basically accomplishing the impossible hence the term 'miracle on ice'. Thanks Disney for ruining it for a generation that never got to live through that or experience the actual brilliance of that moment. (I didn't live through it either, but I've seen the actual footage and it was way more intense and dramatic).

The media was right there capturing every insane moment leading up to the Battle of the Sexes.

Anyway! Speaking of another thing I didn't live through (I was born in '85, ok gimme a break, I'm not that old, but I do know my history) was the Battle of the Sexes. It was a tennis match, and that's what they called it. It is also being screened at TIFF and stars Emma Stone (whatever) as feminist icon and tremendous tennis player Billie Jean King and Steve Carell as Bobby Riggs; the has-been, outlandish and flamboyant champion from a million years ago pinned in a battle of man vs. woman, which really did turn the game into a spectacle when he challenged the former to a tennis match in 1973 basically to make an extra buck and draw attention to himself. Billie Jean King reluctantly accepted, and Bobby Riggs would not stop spouting chauvinist rhetoric at her just to get people's ire up. Billie Jean King was in her prime, and with an actual battle of the sexes going on in society at the time, this tennis match drew a great deal of attention and King's inevitable victory meant a great deal to the American feminist movement. She went from icon to legend. I'm not sure if Emma Stone is the best casting, but unlike Shia LaBeouf, the original that she was portraying gave her a wonderful review.

The real Billie Jean King and Bobby Riggs posing for a publicity still. 

I'm excited for both films. I feel like Battle of the Sexes is going to be more of a politically skewed film that deals with the zeitgeist of the times and heavily pushes the second wave of feminism movement of that period, and Borg/McEnroe is going to be a much darker psychological exploration of athleticism and dreams; accomplished and broken. Both sound great to me and I'm really stoked. 

Another film that may redeem the genre is the upcoming Tonya Harding/Nancy Kerrigan biopic; I, Tonya starring Margot Robbie as Tonya Harding, which I actually did live through. And I really can't wait for that one because when that whole shit went down, I was actually a figure skater myself. Granted I was 8, but I never lost interest in the sport. If a film can make you fall in love with a sport that you otherwise don't care about, they've done their job. 

Trailers for both films below: 

5 Film Characters I Relate Too

Of course they are all going to be female, and I could really only pick 5 before it became redundant. I know that one of them is a TV movie character, but still. Also, 2 are based on actual people but honestly I don't give a shit. Also I had to choose from contemporary films because it's just a bit weird to say that I relate to Liv Ullman from Persona or Gena Rowlands from Woman Under the Influence (which I do, but both of those concepts are dated and I wanted something that would also be relatable to my readers. You're welcome :) 

Julie Powell (played by Amy Adams) in Julie and Julia (2008). On the cusp of 30 and terrified about it, working as a mid-level nobody in a cubicle with nothing to show for her last 29 years except a tiny kitchen apartment in Queens and a loving orange cat, this New Yorker at a crossroads who was such an admired writer in college only no more, decides to change her life by cooking her way through Julia Child's Mastering the Art of French Cooking, not devoid of regular meltdowns and panic attacks. In the end, changing her life. As she says in the film 'I was drowning and Julia pulled me out of the ocean.' To which her husband quips; 'Don't get carried away.' Yet another problem I have. Also the obvious parallel that we're both bloggers, if you missed that you're really thick. 

Susannah Kaysen (played by Winona Ryder) in Girl, Interrupted (1999). The chain smoking, sarcastic before sarcasm was a thing, Susannah just doesn't seem like she belongs anywhere or cares about anything, but it's actually the opposite. She probably cares too much and her heart is too big for normal people, all the while her biggest life goal is 'not to end up like her mother' (no offense mom). She sees life as a giant version of the myth of Sisyphus and herself as the one cursed to roll a boulder up a hill only to see it fall down again and repeat for all eternity, and no where else does life feel like that than in LA. Another writer too. 

Harper Pitt (played by Mary-Louise Parker) in Angels in America (2003). The borderline insane wife of a closeted law clerk, Harper constantly seeks life elsewhere...in her mind with the help of copious amounts of valium in 'wee fistfulls'. Not to say I'm a pill popper, but I am a notorious day dreamer, where my fantasy life is far more interesting than my life at hand. I don't have a 'Mr. Lies' (played by Jeffrey Wright) to fly me around to Antarctica, but I'm in constant limbo between the banality of my ordinary life, and the spectacularity of my fantasty life. 

Jasmine (played by Cate Blanchett) in Blue Jasmine (2013). Who didn't relate to Jasmine? I mean that's why she won the Oscar isn't it. We all have a bit of Jasmine in us, in that we may snap at any moment because we as women are delicate beings and if one doesn't handle with care, we can self destruct if all we've done is put our faith in others rather than ourselves to take care of us. Jasmine is devastatingly flawed. The only thing being more devastating is that she doesn't lose hope until the very very end, and even then perhaps not, that she can reinvent herself and change her life for the better despite the cards she's been dealt. The ending shows you that continuing to have hope even in the face of the most hopeless of circumstances is the craziest thing a woman could do. 

Kirsten Dunst as Justine in Melancholia (2011). It's very simple really, though Justine doesn't say much, her actions explain everything about what kind of woman she is, whether it is bathing nude in the blinding light of melancholia or laying motionless face up in a river, Justine is a rare breed of human. She is uncomfortable in fact traumatized by otherwise happy events like her own wedding, and can't stand being near anyone who seems to antagonize her. But in the face of a literal apocalypse she is able to be the source of comfort and unwavering strength to anyone who needs her. In an actual disaster, she would be the bastion of strength because she's aware that there's nothing left but that to do.

Trailers below:

My Top 10 Films Directed By Women

I was inspired by this article: Top 100 Movies of All Time… By Female Directors and also a facebook thread I started a while back that I now can't find where I asked everyone to write a female director to see if we could make it to 100. And we made it well past 100. We all know filmmaking is the boy's club, but some of the best filmmakers out there right now and in the past are women. Trailblazers, innovators, theorists, and originals most of all, here are my top 10 films directed by the gentler sex. 

1. Meshes of the Afternoon (Maya Deren) 1943

2. La Souriante Madame Beudet (Germaine Dulac) 1923

3. The Hitch-Hiker (Ida Lupino) 1953 

4. Orlando (Sally Potter) 1992

5. The Piano (Jane Campion) 1993 

6. Boys Don't Cry (Kimberly Peirce) 1999

7. American Psycho (Mary Harron) 2000

8. At Land (Maya Deren) 1944

9. Fat Girl (Catherine Breillat) 2001

Fish Tank (Andrea Arnold) 2009

Honorable mentions below: 

A Feminist Perspective (Gasp!)

Feminism, why is that such a pejorative? Why is it scary? Does it mean that we want to castrate all men on the planet? Maybe...But still, there's no harm in examining media using the feminist prism is there? And why the eff not? Considering that most media, particularly cinema is an exclusive 'gentlemen's club' it's a breath of fresh air when we get a view of the feminine gaze. 

I'd like to introduce a website that my friend brought to my attention that does exactly that. Examines film and television through the feminist lens. Finally. This is not to say that they only deal with material like 'Girls' or Frances Ha (2013), or even The Hunger Games trilogy. They're going at it completely and thoroughly and providing a refreshing perspective from some of the greatest female minds out there on the interwebs, yeah guess what there are a bunch of those, myself included. 

Let's back track a whiiiiiiile. Back in the day (30's to about 70's) there were three roles out there for a female actress to play those being; the whore, the mother, or the wife. All were in one way or another secondary and in a lot of cases degrading. They either served as a support system for the primary male character or an antagonist to the male hero. Now obviously, things are different. Women are at the forefront of cinema and television, and not just in front of the camera either. From Kathryn Bigelow being the first woman in history to win Best Director for The Hurt Locker (2011), to (I hate to say it) Lena Dunham writing and directing, as well as starring in her own HBO series 'Girls' which has garnered astounding critical acclaim and a rather significant following. The march for equality moves on and is assaulting archaic and passe rules instituted on the media by the male executive, male protagonist, and male consumer.

The masthead. 

The website is appropriately called Bitchflicks (BitchFlicks) and focuses its attention on the entire scope of the media today approaching it with snark, sarcasm, clout, and everything else we women are best at. Also, let's face it, we might be the more intellectual of the species so it's important to read something besides Jezebel every once in a while, like something with say substance and value...ergo read Bitchflicks.

A screenshot of some of their material. 

A team of some of the best interwebs female writers out there is a breath of fresh air to provide a new skew on the feminine gaze covering basically everything; from Jennifer Lawrence to Ron Swanson. There has been a shortage of female voices, and no Arianna Huffington doesn't count, out there, and it's quite nice to see a resurgence of it. 'Feminist' may be a four letter word, but it's been four lettter words that have gotten us as far as we've come. Otherwise we'd still be sewing each other into corsets, being seen but not heard. And to be heard on the internet, is a good thing...believe me :)

Enough with the Open Letters! French Films are Exploitive. We Get It.

Lea Seydoux in Blue is the Warmest Color (2013)

So if you religiously check Indiewire.com every morning like I do, you'll see that the director of the sleeper hit Blue is the Warmest Color (2013), Abdellatif Kechiche has penned an open letter to its star, France's new 'it' girl Lea Seydoux, who called the filming of said film an experience that was both trapping and disrespectful in terms of dealing with its racy sex scenes. Guess what folks, without racy sex scenes there would be no French cinema to speak of let's just be honest here. Especially now-a-days with directors like Christophe Honore and Catherine Brellait leading the charge of how-much-gratuitious-nudity can we cram into a 2 hour film and the answer is...a lot. But you know what? With such content comes responsibility, and I'm going to side with Seydoux here. To be fully nude surrounded by grips, electricians, script supervisors and who else is no fun, and to have to do it take after take, can be exhausting, not like I would know, but I'm sure at this point shooting porn is a more wholesome experience than going full on French.

Kechiche basically blamed her for trying to destroy the very same film she helped make into a success and also not to mention helped to win the Palme D'Or. He writes, "Miss Seydoux, who after having repeatedly thanking me publicly and privately and having wept in my arms at Cannes for allowing her to take on this noble role … has, against all odds and all personal coherence, radically changed her attitude towards me." 

In his letter Kechiche calls Seydoux 'spoiled and opportunistic' um, exaggerate much?

So why don't we just calm the fuck down and take a look at the mistakes we might have made as directors. Actors are by definition fragile individuals who look to directors not only for guidance but for comfort, and not exploitation, unless of course you like that sort of thing. And now, I'm going to name a perfect example of someone who refuses to follow these guidelines and has the balls to blame his actors for not 'being comfortable'. 

20 year old Maria Schneider and Marlon Brando in Last Tango in Paris (1972)

One, Bernardo Bertolucci has been accused of this very thing on several occasions. The first and most infamous case I can remember is when Maria Schneider, Marlon Brando's co-star in the then X-Rated Last Tango In Paris (1972) famously said that in the scene where Brando's character sodomizes her with butter lubricant (there's honestly no wholesome way for me to describe this folks, sorry) that she felt that not only was she being raped by Brando, but by Bertolucci himself who just let it happen without asking her not even once if she was comfortable, if she wanted to stop and catch her breath, if it was all too much, you know, everything we as girls would like to be asked in scenarios like that...even if it's simulated. It's just polite.

This misogynistic behavior on Bertolucci's part continued up until The Dreamers was released in 2004 and sex-pot Eva Green basically said the exact same things. It's a film I've seen on a few occasions and I can tell you that yeah, the sex is pretty gratuitous, and no one had to work harder at it (no pun intended) than Eva Green, she had the most nude scenes, the most sex scenes, the most bodily fluid involving scenes as gross as that sounds, and she said that sometimes even though she's a seasoned professional and full fledged Frenchie, it was hard, and she felt that she received no guidance or comfort from her director who basically sat behind the camera and watched like some perv with a box of donuts and a pair of night-vision goggles. 

Eva Green in one of her most erotic scenes in The Dreamers (2004)

 I believe that Bertolucci is someone who makes gratuitously sexual films for his own personal pleasure, kind of like the James Spader character in Sex, Lies and Videotape (1989) so he can whack off to them later, he just happens to be really good at it and call it art, and let's face it a lot of French directors seems to go down that road.

So in conclusion; Kechiche - You should be thankful that Lea Seydoux who is huge not only in France but currently in America even participated in that film, and without her quite honestly I don't think the Palme D'or was within your reach. Enough with the open letters, there's this cool devise called the telephone, pick it up after a bottle of Bordeaux and go nuts. But also realize you are not blameless here brother. Here's a link to his open letter: 'Blue is the Warmest Color' Filmmaker Pens Enraged Open Letter; Slams 'Spoiled,' 'Opportunistic' Star Lea Seydoux

Trailers below: 

Some of my biggest Filth Influences

Gore Vidal. Playwright, social commentator, and general threat to polite society extraordinaire.

Elinor Glyn. One of the first female scenarists who never held back, and paved the way for the next two waves of feminists.

Adrian. One of the film industry's most prolific and daring costume designers.

Barbara Stanwyck. Always told it like it was, before it was even legal.

Alexander McQueen. His designs and contribution the the fashion world elevated sex into an art form.

David Bowie. Nuff said.

Sam Fuller. The man who said 'fuck you' to the Hollywood censors and got away with it.

Quentin Crisp. The Naked Civil Servant.

Otto Dix. Perhaps the most explicitly controversial painter of the 20th century.

Gus Van Sant. A master of sensuality and subtext.

Joan Crawford. Fucked everyone in her path to get to the top and never apologized. Why would she?

Marilyn Monroe. If she hasn't taught you a thing or two you're doing it all wrong.

The Marquis de Sade. Banned, condemned, imprisoned, institutionalized. His writing was that saucy.

Paul Verhoeven. Extremist is his middle name.

Vladimir Nabokov. His greatest novel 'Lolita', which was banned in most countries upon release, influenced my writing the most.

Edie Sedgwick. Warhol's most beautiful of superstars.

John Waters. The filthiest filmmaker of all time.

Anaïs Nin. Made biographical writing all about sex.

Tennessee Williams. The most controversial and brilliant scenarist of ours or any time.

Andy Warhol. The great voyeur.

And of course, Oscar Wilde. Who spent ten years in prison for his work, his beliefs, his loves, and his brilliance.

Women's History Month in the Recent Media

Happy month of empowerment, fellow ladies and warrior goddesses. But before you go reciting a vagina monologue and doing a sister circle, I'm going to go ahead and put up the stankiest contradictions to everything that any suffrage or liberation front fought to let us have. 

A really great example on TV these days of that classic second-wave feminist idealism and ambition is the character of Leslie Barbara Knope on Parks & Recreation, played incomparably by Amy Poehler. She's basically a younger version of Hilary Clinton who's determination and all-consuming hard work at a largely thankless and at times contradictory job as deputy director of a small-town Parks department. What's great about her character is that it doesn't shy away from the vulnerability aspect of a single woman in a man's world, and her penchant for waffles and white wine. 

In the media, particularly in television, for every show like Parks and Recreation (2009 - ), which parody's and satirizes the idea of female empowerment, we have a show like the Real Housewives of... (2006 - ) where they actually call themselves 'evolved and intelligent' when the opposite is clearly true, but it's not even funny at that point, it's just so sad. Let's condense the history really quick. First, we got the vote, then we got equal pay, and then women got to be secretaries of state, but running along side all of those trailblazers were the following lovely, classy, and most lady-like members of the gentler sex that seem to keep us perpetually in second place. Enjoy your free drinks!

Basically what I'm saying is that for every Leslie Knope, there's 10 Taylor Armstrong's. The media is not the best example of woman's fight for equality, particularly reality television. And while public figures like Gabrielle Giffords, Nancy Pelosi, and Michelle Obama are making tremendous strides forwards, pretty girls with big boobs have television ratings to fish for and still ascertain most of our attention.

Below please find a very taught satirization of women's progress by SNL legend and huge female presence in said institution who broke down barriers for the likes of Tina Fey, Kristen Wiig, and Maya Rudolph, Cheri Oteri. This is when Monica Lewinsky and the Clinton sex scandal was the major diet in the newspapers. It's actually frightening how foretelling it is considering we now have to deal with people like Dana on Real Housewives of Beverly Hills and her 25,000$ sunglasses or Snooki on Jersey Shore, or all of the whiney bitches on Grey's Anatomy, who are all proving that the glory days of strong self-sufficient, ambitious, and independent women is a dream forgotten, and no Beyonce and Sofia Vergara don't count.