"Goodbye to the indomitable Mrs Peel: Acting legend Diana Rigg..."

"... who starred in The Avengers, was a Bond girl (who actually got to marry 007) and appeared in Game of Thrones dies peacefully at home aged 82" (Daily Mail).

"So honesty is outlawed here? I can't be honest? That was our deal when we first got together — brutal truth — remember?"

What a scene! Kelly Preston, RIP.

"Revolutionary moments also require public confessions of iniquity by those complicit in oppression. These now seem to come almost daily."

"I’m still marveling this week at the apology the actress Jenny Slate gave for voicing a biracial cartoon character. It’s a classic confession of counterrevolutionary error: 'I acknowledge how my original reasoning was flawed and that it existed as an example of white privilege and unjust allowances made within a system of societal white supremacy … Ending my portrayal of "Missy" is one step in a life-long process of uncovering the racism in my actions.'... If you find this creepy, but don’t want to say that out loud, just know that you are not alone. Ibram X. Kendi, the New York Times best seller who insists that everyone is either racist or anti-racist, now has a children’s book to indoctrinate toddlers on one side of this crude binary.... The use of the term 'white supremacy' to mean not the KKK or the antebellum South but American society as a whole in the 21st century has become routine on the left, as if it were now beyond dispute.... The word 'racist,' which was widely understood quite recently to be prejudicial treatment of an individual based on the color of their skin, now requires no intent to be racist in the former sense, just acquiescence in something called 'structural racism,' which can mean any difference in outcomes among racial groupings. Being color-blind is therefore now being racist. And there is no escaping this. The woke shift their language all the time, so that words that were one day fine are now utterly reprehensible. You can’t keep up — which is the point.... So, yes, this is an Orwellian moment. It’s not a moment of reform but of a revolutionary break, sustained in part by much of the liberal Establishment."

From "You Say You Want a Revolution?" by Andrew Sullivan (New York Magazine).

"Being color-blind is therefore now being racist." — That's been true for a long time, at least where I live. When was the last time you could say "I don't see color" and not be thought an idiot at best. I've lived in Madison, Wisconsin since 1984 — and that's not an Orwell joke — and assertions of colorblindness have always been regarded as racist. I think there was a chance to adopt the ideology and outward manifestations of colorblindness back around 1968, but America went in another direction. Everyone younger than the Baby Boomers could have been taught colorblindness from the earliest age. But that opportunity was lost, and now we are very far along in cranking up racial sensibilities. Sullivan's yearning for a time when you could get off the racism hook by being colorblind — or, realistically, claiming to be colorblind or believing yourself to be colorblind — is a yearning for a past that never existed. There was a time when it was posited as a goal — notably, MLK's "I Have a Dream" speech — but that goal was down a road not taken and a cynic would say you can't get there from here.

"Some 800 girls were said to have sought the part. When Ms. Lyon was cast, Mr. Nabokov, employing the word he used in the novel, called her 'the perfect nymphet'..."

"Ms. Lyon accumulated more than two dozen film and television credits from 1959 to 1980, but she was known primarily for one: Mr. Kubrick’s 1962 film of the Nabokov novel ['Lolita'], which was adapted for the screen by Mr. Nabokov himself.... The novel was scandalous when it was first published in English in 1955; the film, made when the restrictive Motion Picture Production Code still governed Hollywood, was less so — in part, some critics thought, because Ms. Lyon, whose character was aged slightly for the movie, seemed too mature. 'She looks to be a good 17 years old, possessed of a striking figure and a devilishly haughty teenage air,' Bosley Crowther said in his review in The Times. 'The distinction is fine, we will grant you, but she is definitely not a "nymphet."'"

From "Sue Lyon, Star of ‘Lolita,’ Is Dead at 73/She was 14 when she was cast in the title role of Stanley Kubrick’s 1962 film of the Nabokov novel. It remained her best-known credit" (NYT).

"Whether playing a streetwalker or a terrorist, Ms. Karina managed to look flirtatious, with her dark hair, wispy bangs, heavy eyeliner..."

"... and chic wardrobe of sailor-uniform tops, knee socks, lots of plaid and perky headwear, from berets to boaters.... At 14, she dropped out of school, sang in cabarets and worked as a television model. At 17, she ran away from home — hitchhiking to Paris — and was discovered by the casting director of an advertising agency while sitting at Les Deux Magots, the fashionable Left Bank cafe. During a photo shoot for Elle magazine, she met the fashion designer Coco Chanel, who advised her to change her name. Godard, a film critic at the time, saw her in a movie theater ad for a Palmolive bath product. When he subsequently offered her a small part in his first full-length film... she objected to doing a nude scene. Godard said he didn’t understand — after all, he had just seen her onscreen in a bathtub, looking very comfortable and showing plenty of skin. 'I wasn’t nude,' she told him... 'That was your imagination.' She had been wearing a swimsuit in the tub, she said, and “the soapsuds were up to my neck.'... After her divorce from Godard ('He would say he was going out for cigarettes and come back three weeks later,' she told The Guardian), she married several other times... Ms. Karina was happy to acknowledge Godard as a Pygmalion figure, but also pointed out her own contributions... 'I gave him self-confidence.'"

From the NYT obituary for Anna Karina, whose  name, prior to that encounter with Coco Chanel, was Hanne Karin Bayer.

"Over the last weekend of June she had a full on 'Mommie Dearest' meltdown and demanded that staffers at the Huntington Theater get down on their hands and knees and scrub the floor of her dressing room..."

"...sources claim. She allegedly threw mirrors, combs and boxes of hairpins at the staff of the theater. She also pulled gray hairs out of her wig because she wanted to play a younger version of [Katharine] Hepburn than the playwright had written.... This is not the first time [Faye] Dunaway has displayed erratic behavior in a show. In the early 1990s she toured the country as Maria Callas in Terrence McNally’s 'Master Class.' She showed up an hour late for many performances. She had bellhops rearrange her furniture in her hotel suites in the middle of night because she didn’t like the 'flow' of the room. Once, a theater in St. Louis sent her a white limousine, and she reportedly had a fit because she hates white. She demanded a rental car from the hotel to get to the theater. The limo company sent a black car instead, but it was too late — Dunaway was racing to the theater, trailed by both the white limo and the black one. I managed to track her down back then and she was charming on the phone. 'Your story sounds like a Fellini movie,' she told me."

From "Faye Dunaway fired from Broadway-bound ‘Tea at Five’ for slapping crew member" by Michael Riedel (NY Post).

The requisite video clip:



That's Faye as Joan Crawford, back in 1981, 37 years ago. A decade after that, she did the raging diva routine again as Maria Callas. And now, at the age of 78, they installed her in the grand persona of Katharine Hepburn. Do it again, Faye. Be the imperious diva.

Some day, somebody will play the role of Faye Dunaway. The fantastically beautiful actress, snagged into playing another beautiful actress, typecast as the actress who plays actresses, actresses who age and resist their predicament, and she get pissed off about it and rages in a way that is ludicrously like the way she played another actress in that movie back in 1981. Ah, she was so young then! Now, she's 78, she's ruined her legendary beauty with plastic surgery, and she's shocked to discover the Katharine Hepburn she's been hired to play is Katharine Hepburn at the very end of her life and Katharine Hepburn lived to be 96.

Oh, that scene where she tenderly lifts the wig and soliloquizes about the depredations of age, absent-mindedly rearranging the strands, plucking a hair or two, then finally ripping out handfuls, ranting loudly and breaking into sobs. She buries her ruined face in the ruins of the Katharine-Hepburn-at-90 wig. Oscar-worthy.



As Faye Dunaway says, "Your story sounds like a Fellini movie." Speaking of Fellini, there's this in the Faye Dunaway Wikipedia article:

During the filming of A Place for Lovers (1968), Dunaway fell in love with her co-star Marcello Mastroianni. The couple had a two-year-live-in relationship. Dunaway wanted to marry and have children, but Mastroianni, a married man, could not bear to hurt his wife and refused, despite protests from his teenage daughter Barbara and his close friend Federico Fellini. Dunaway decided to leave him and told a reporter at the time that she "gave too much. I gave things I have to save for my work." She later recalled in her 1995 autobiography:

There are days when I look back on those years with Marcello and have moments of real regret. There is that one piece of me that thinks that had we married, we might be married still. It was one of our fantasies, that we would grow old together. He thought we would be like Spencer Tracy and Katharine Hepburn, a love kept secret for a lifetime. Private and only belonging to the two of us.

Mastroianni later told a reporter for People in 1987 that he never got over his relationship with Dunaway. "She was the woman I loved the most", he said. "I'll always be sorry to have lost her. I was whole with her for the first time in my life."

I gave too much. I gave things I have to save for my work....

"You made me feel embarrassed for having responded to you."

Said Susan Anspach, telling off Jack Nicholson in 1970:



Watch Jack Nicholson mess with all the bottles on the dresser, and then watch Woody Allen messing with bottles on a dresser before Susan Anspach tells him off — "I don't want alimony, you can everything, I just want out":



Goodbye to Susan Anspach — the paradigmatic unsatisfied woman of the early 1970s. "Susan Anspach, 75, Dies; Daring Actress in Maverick Films" (NYT). She was the mother of a son whose father was Jack Nicholson and of a daughter whose father was another actor, and she was married twice, for short periods of time, to other men. But she said she didn't believe in marriage or even in living with a man, because “if the kids get attached to him and you break up, it just isn’t fair.”

The loss of a face.

Oh, no! Uma!

ADDED: It is so foolish to think this kind of work is good for an aging face. The moviemakers always have new talent flowing into the business. There are always more genuinely fresh, pretty, young faces. Why would anyone want to look at the unfresh faking of such a face? You were the young woman once, and you edged out older women in your time. Now, either withdraw gracefully, or find your way into roles that fit your place on the timeline of life. If you're not a good enough actress to claim those roles, that's a good sign that you got more than your share of roles because of your beauty when you were young. You should be grateful — grateful and graceful.

"The Internet in its wisdom has provided GIFs of the best reactions" to the Oscar song-and-dance routine "We Saw Your Boobs"...

"... including Naomi Watts’, perhaps best described as 'the death of a smile'..."



"... and Charlize Theron’s, perhaps best described as 'ice-cold daggers hurled directly from the eyeballs.'"

Speaking of being called to a higher law and speaking of speaking....

In the previous post, we're talking about what Jesus wrote in the sand and what he said out loud, in the New Testament story where the scribes and Pharisees present Jesus with the question of what to do with a woman who was caught in the act of adultery. In the Gospel text, we're told Jesus that wrote on the ground, but not what he wrote, and we're told that he subsequently spoke and said "Let him who is without sin among you be the first to throw a stone at her."

I'm putting up a separate post because I found the scene that sydney said he loved in the movie "The King of Kings." Made in 1927, it's a silent movie, so no one is saying anything out loud. We see what Jesus says written out on the intertitles, and we also see what he writes in the sand.



Beautiful filmmaking, particularly as the sand-words, not written in Roman letters, transform into our English words, naming the sins that the men in the crowd realize they've committed, and that's why they all turn and walk away.

That's not an accurate depiction of what happens in the biblical text though. The movie shows a mob on the verge of stoning the woman and Jesus intervenes and announces his rule about casting the first stone. Only thereafter, does he write the names of the sins in the sand. But in the Bible story, there is no angry mob with stones in hand. There are scribes and Pharisees demanding that Jesus deliver a legal opinion. Jesus bends down and writes on the ground instead of answering the question.  Only after they persist does he stand up and pronounce his new rule, which causes the scribes and Pharisees to walk away — "beginning with the older ones." The movie would have you see the members of the mob acknowledging their sins and their consequent lack of qualification to cast the first stone. But the text has intellectuals trying to box Jesus in on a question of law, and Jesus getting the better of a conversation he didn't want to have in the first place.

It's not surprising that a movie plays up the visible drama, and it's also not surprising that when I — a law professor — read the text, I see something akin to a law school class. The professors try to stump the student and the student transcends their tricky game. To me, the part where Jesus bends over and writes in the sand is like what happens in a law school class when the lawprof poses a difficult hypothetical and the students bend their heads down and go through motions of writing. They don't want to answer. It's not that they're writing something magically revelatory and startling. But if the lawprof keeps pushing and calls on someone, an answer will be spoken out loud.

I guess the law-professorly interpretation of the text isn't terribly cinematic. It's no wonder the movies present an angry mob with stones in hand and Jesus miraculously knowing and changing the hearts of the sinners. (And the adulteress is an actress evincing exactly the form of sexiness that was fashionable in the year the movie was made. I love the eyeliner!)

But to me the lawprof interpretation is thrilling and dramatic. The professors think they've got the upper hand. They know the legal text and it's tough. And then the brilliant student who will soon be the greatest professor of all gets on top of the dialogue and says something they must accept as correct: If you're going to have strict rules and severe mechanisms of enforcement, you must apply them equally to everyone. This is the structural safeguard of equal protection of the laws that is the necessary component of a democratic system. If there can't be exceptions and special treatment for preferred people, legislatures will resist imposing harsh rules and painful punishments.

In this context, let me give you my favorite Justice Scalia quote, which happens to include one of the key words of Christianity: "Our salvation is the Equal Protection Clause, which requires the democratic majority to accept for themselves and their loved ones what they impose on you and me."

"In recruiting women over 40 years of age, companies are finding young women who will misrepresent their true age on application forms."

"Legendary jukujo performer Mariko Kawano was one of the first, apparently claiming to be 34 when in fact she was really three years younger."

Recreating an old reality show, with actors playing the parts of the real people...

... who once lived their supposedly real lives in front of the cameras.

Is this something we want to watch now, or do we feel sorry for actors who are stuck with roles like this? Why not watch the original show, "An American Family," which aired in 1973?

HBO's "Cinema Verite" makes me feel the way I felt about the movie "Frost/Nixon." The original is still available. What's the point of actors imitating them? Presumably, there can be some different angles on what was really happening, but, most likely, we'll just be more aware of the phoniness of acting than we usually are.

Meanwhile, speaking of HBO, I'm struggling through the 5 episodes of the mini-series "Mildred Pierce." (I'm not watching alone, but I'm saying "I'm struggling," because I'm the one with the will to watch, and Meade mainly has this thing of hanging out with me when I'm watching one of my shows, which is something I also do for him sometimes (read:  sports).)

Now, "Mildred Pierce," isn't the recreation of something that happened in reality, but it is the recreation of an old and (for some people) very familiar movie. Kate Winslet is playing Joan Crawford. Now, it's not the same as watching Faye Dunaway play Joan Crawford in "Mommie Dearest," because both Joan and Kate were playing this fictional entity Mildred, but, come on. It was Joan Crawford. Winslet has the challenge of getting us to not think about Crawford.

Now, Kate's doing a fine job of not being Joan Crawford, but... the real thing here is melodrama, and Joan was more truly melodramatic, which means that Kate, by trying to be more authentically human, gives us a less genuine melodrama.

"I had many love affairs — and a lot of awful lovers. I wasn't into 'sexscapades' but I did try it once. I had three people in one day."

Says Shirley MacLaine. Who were these "people" — as she calls them? Not Jack Lemmon:

'I wasn't attracted to Jack Lemmon. He was a sweetheart. He didn't have that dangerous, complicated sexual thing that I liked helping the man I was attracted to figure out.

"Jack Nicholson had too much of it. He is authentically dangerous."

Authentically dangerous... is too much. Presumably, Lemmon wasn't even inauthentically dangerous.  It's so hard for a fellow to get into exactly the right zone.

I had quite a relationship with Robert Mitchum. And Yves Montand...

So there you have it. That's the zone. Robert Mitchum. (And Yves Montand...)

Song lyric evoked:

Can I have your autograph?
He said to the fat blonde actress
You know, I've seen every movie you've been in
From "Paths of Pain" to "Jewels of Glory"
And when you kissed Robert Mitchum
Gee, but I thought you'd never catch him
You're over the hill right now, and you're looking for love...

Oscars, anyone?

I haven't seen any of the movies, but I'm DVR-ing the show and will dip in from time to time. You can talk about it here and I might say something now and then.

For example, Jennifer Hudson has a smashing dress.

UPDATE: Man, this show sucks so bad.

UPDATE2: I'm IM-ing with my son Chris. I write: "is any celebrity saying anything pro-union or in support of the wisconsin protesters?" And he's all:

haven't heard anything

oh gwyneth paltrow mentioned you

in the middle of the song

she stopped and said you know ann althouse

needs to stop criticizing those protestors

LOL.

"Halle Berry may have chosen the wrong words but she makes the right point."

"It is important to read past her ugly custody case to have a larger conversation about race (one the baby's father apparently does not want to have). Her daughter will have to choose a racial identity, the way she had to choose a racial identity. In America, that means it will probably be chosen, at least in part, by the way people react to her. In America, her skin color (black or white) will be something that people use to define her. I applaud Halle Berry's courage, if not her choice of words. When she says, 'I believe in the one drop theory,' of course, she does not mean to endorse racism. But she does have the courage to do something so few Americans can: talk about race."

Either that or she's using whatever weapons she finds at hand as she fights for what she wants in her child custody battle.

"I've been texting for a year with a couple of guys without ever going on a date with them."

"The other day I got a text from a boy, but it wasn't hot. I mean, if you're going to text me every day, you haven't seen me for months and you're trying to seduce me, you'd better spice up that text and make it more exciting than 'How was your day? I hope you're having a beautiful one.' Sadly, I haven't been doing a lot of kissing lately."

Chloe Sevingny.

The movie we watched last night.

"Rebecca."

I'd seen it before, but others here hadn't. I'd forgotten some of the details, but I remembered the key surprises. So I wallowed in the old-fashioned acting, especially Joan Fontaine moving her eyebrows asymmetrically in a way that only a comic actress today would use...

"Rebecca" won the best picture Oscar in 1940, beating "The Grapes of Wrath." I guess people preferred watching the melodramatically exaggerated travails of rich people in gigantic houses more than they liked watching the melodramatically exaggerated travails of poor people in gritty hovels.

What's with powerful women and thick bumpers of bangs?

Drudge is — I think — implicitly asking with this alignment of photographs:



What drives intelligent women to that hairstyle? Are they thinking something like I don't want those feathery bangs...



... or the classic Louise Brooks straight-across look...



... but I can't have my forehead just out there to be gazed at!



What's wrong with foreheads? Is it that the forehead symbolizes the mind, and a woman can't have you looking straight at that? The intelligence must be filtered. There must be a buffer zone of femininity, so there must be some hair veiling the forehead — the theory seems to be. But why the bumper look that we see in the Drudge trio of Angela Merkel, Condoleezza Rice, and Maureen Dowd?

"What Audrey does in 'Breakfast at Tiffany’s' is not uninteresting, but it is far from the modern woman..."

"...  even the one introduced to American audiences in the persons of Bette Davis, Irene Dunne, Margaret Sullavan, the other Hepburn (though she could talk herself into a self-centered corner, too), Carole Lombard, Rosalind Russell, Jean Arthur, as well as Barbara Stanwyck. Instead Audrey rather resembles her physical antithesis Marilyn Monroe (who wanted to play Holly) in that they have very distinctive voices, but not voices that are good for talking to people."

Questioning "the chilly yet unlived-in gamine glamour of Audrey Hepburn."

"The bogusity of the New York Times' story about how technology leads more park visitors into trouble."

Nice takedown by Jack Shafer. (But isn't the correct spelling "bogosity"? Try saying it. I know the adjective is "bogus," but people don't say "bogusity." They might say "bogusness," but not "bogusity.")

Anyway, the problem is something that's common to journalism about trends (including that ridiculous Daily Caller piece about blog payola). A headline declaring a trend gets readers' attention, but then you need a lot of examples of the things that constitute the trend. The writer has some things that look like a trend, but he's got to beef up the article with more examples or it's not a trend. But he's itching to get to trend!!!! so he includes things that don't really fit, and then the whole thing looks stupid.

It's really annoying for the reader, because the trend!!!! declaration worked, and you've already read it and rewarded the website with traffic before you realize it's not quite a trend. What can you do? Resolve not to read trend pieces anymore? But then you still see the headline and it makes the impression that there is a trend!!!! and now you're been deprived of the evidence that there isn't a trend.

Now, I'm reading the comments at the Shafer piece and see that some of his readers are pouncing on the "bogusity/bogosity" spelling issue. I'm glad to see that others share my priorities. There's also this from one "nerdnam":

Well, what's her name's plastic surgeon just died after driving off a cliff immediately after twittering a picture of his dog at the beach. The dog survived, luckily. So I see a trend here.

Oh?! "Heidi Montag Mourns Death of Her Plastic Surgeon." Oh, lord, look at the expression on her face! Isn't it ironic? You plastic-surgerize — what's the verb for "surgery"? — somebody's face and then you die and her face is incapable of looking convincingly sad. Her gigantic breasts don't look sad either, but they make it into the People Magazine photograph, and because they stand as monuments to your work, that's not ironic at all.

Hmm. That People article no longer contains the information about tweeting that is referred to here:

According to People, Dr. Frank Ryan's jeep Wrangler careened off of the Pacific Coast Highway on Monday....

People later reported that Ryan's former girlfriend confirmed that his accident was caused by texting and driving. He had posted a Twitter message about hiking with his dog just before the accident. The dog survived the crash.

One more dubiously technology-related death. Maybe confirmations from former girlfriends don't cut it anymore.