#otto filmography

[nev-jupsiii]

These as younger Otto Hightower 🧎

[inheritsnothing]

ladies and gentleman.... your hand of the king.

[conradrasputin]

via @abusivelittlebunny​

[cinemacentral666]

Behind Blue Skies (2010)

Movie #1,128 • TWO FOR TUESDAYS

I ran out of recent-ish "sky" movies for the September-long "sky"-themed TWO FOR TUESDAYS so I had to go digging. Completely stumbled on this by random and am very glad I did. The only issue was I found a pretty bad version uploaded to Daily Motion lol and the whoever handled the hardcoded English subs, well...

It was pretty funny watching it with this ESL-style notation. I thought it would be an issue at first but you absolutely get the gist of every scene even if the translation isn't close to 100% 'correct'. Anyway, moving on...

This Swedish coming-of-age crime story was made by Hannes Holmes who would go onto make a trilogy of family comedies in the early 2010s right after this (The Anderssons in Greece, The Anderssons Hit the Road, and The Anderssons Rock the Mountains) before helming the original A Man Called Otto (super cheesy looking Tom Hanks film that came out last year). That movie, A Man Called Ove, was actually nominated for a Best Foreign Language Oscar. Needless to say, he's got a super strange looking filmography.

Starting off with an odd X-rated version of a sex joke straight out of American Pie, things settle down quickly, as Behind Blue Skies is actually a really thoughtful period piece about the son of an alcoholic finding his way in the world. One of the younger Skarsgård brood (Bill) stars alongside a local gangster (Peter Dalle) who's masquerading as the manager of an upscale sailing club. The latter becomes a father figure as he enters a life of crime. But it's not a morality play and these aren't one-dimensional characters. There's a really lovely nuance here both in the performances and the screenplay which elevates it above similar genre schlock. I definitely would recommend it.

SCORE: ⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️½

[cyber-geist]

Otto Farrant as Alex Rider fanart!! (Photo reference on the left, my art on right)

I love this show so much, I’d even go so far as to say I like it better than the books. Otto plays a brilliant version of Alex and I applaude his skills. His co stars Tom and Kirah are also wickedly talented and honestly the whole cast is just brilliant they bring to life a world of power, adrenaline, fear, and excitement so well, and I love it to pieces!!!! Also the filmography is absolutely brilliant, as are the stunts, SFX, and Special effects!!! As a theatre and art geek it really does bring me joy! So excited for season three in March!!!! Heck yeaaaa!!!!

[singofsolace]

hi!! mind if i ask, are there any of miranda's films from the 90s-early 2000s available on streaming? and are there any gifsets of her films like danny deckchair posted around here? just asking... :)

I don’t mind you asking at all! Here are all the links to Miranda’s 90′s to 2000′s filmography. A lot of these films can also be found on Miranda Otto Russia’s YouTube page, but these links mostly go directly to Miranda Otto Russia’s archive, which sometimes prompts you to “sign in” before you can see something, but if you just click the “x” button, or hit “not now,” you can watch the films without needing to sign in!

Links to Stream Miranda Otto’s Filmography (1990-2010+)

The Girl Who Came Late (1991) 

The Last Days of Chez Nous (1992)

The Nostradamus Kid (1993)

Sex Is a Four Letter Word (1995)

Police Rescue: On the Outer (1995)

Love Serenade (1996)

The Well (1997)

True Love and Chaos (1997)

Doing Time for Patsy Cline (1997)

Dead Letter Office (1998)

In the Winter Dark (1998)

The Thin Red Line (1998)

The Jack Bull (1999)

Kin (2000)

What Lies Beneath (2000)

The Three-Legged Fox (2001)  [just Miranda Otto’s scenes]

Human Nature (2001)

The Way We Live Now (2001)

the whole miniseries is on YouTube!

Doctor Sleep/Close Your Eyes (2002)

Julie Walking Home/The Healer (2002)

Danny Deckchair (2003)

In My Father's Den (2004)

Flight of the Phoenix (2004)

Through My Eyes: The Lindy Chamberlain Story Part One and Part Two (2004)

War of the Worlds (2005) [just Miranda Otto’s scenes]

In Her Skin (2009)

Blessed (2009)

Schadenfreude (2009)

South Solitary (2010)

Miss Fisher’s Murder Mysteries: Cocaine Blues (2012)

I know you only asked for early-2000s... but I just had to add this one because I love it so much

I hope this helps! And, sadly, I haven’t seen many Danny Deckchair gifs around, but I��m sure if you searched my blog for that tag, you’d find some! 

[mirandalinotto]

Rake (2014) Review

For your information, I fast-forwarded through any scene that didn't have Miranda Otto in it, so this review is only about her storyline.

Trigger Warnings: Stalking and Harassment, Internalized Biphobia/Homophobia, Pedophilia, Jealousy and Possessiveness, Drugs/Alcohol

So, I went into this having seen a few clips here or there. I knew that there was a sapphic kiss, a pretty stellar punch, and an uncomfortabe scene where Miranda/Maddy gets "birthed" and is supposed to suck on her boyfriend's chest, but she freaks out and breaks up with him.

Yeah, it was a wild first impression, without any context. Now I have context, and I almost wish I didn't.

Maddy Deane (Miranda Otto) is a psychologist who used to be married to Keegan Deane, the main character of the show, and notorious "rake."

Rake: a man who is habituated to immoral conduct, particularly womanising. Often, a rake is also a prodigal son, wasting his (usually inherited) fortune on gambling, wine, and women, and incurring lavish debts in the process. Cad is a closely related term.

Keegan fits this definition, and spends most of the series sleeping with lots of different women, drinking, and being an all-around asshole, especially when it comes to his ex-wife.

Maddy and Keegan have a teenage son, Finn, who is sleeping with his English teacher. Keegan knows about this before Maddy does, and basically chalks it up to the boy having too many hormones, while his ex-wife is obviously furious that he's allowing their son to be abused by a woman 20 years his senior. Maddy is made out to be the "bad guy" in this equation, when you'd think the pedophile-teacher would be the one in the "wrong."

Miranda Otto isn't really given that much to do in the early episodes. She's in maybe one or two scenes, at most. When she is in a scene, she's usually being disrespected by her son or her ex-husband or both. I was particularly annoyed by the scenes where Keegan either flirts with a woman in front of her, or tries to impress her with his reckless spending.

I have to say, Maddy is dealt a pretty shit hand in this show. Her new boyfriend, Bruce, turns out to be an obsessive stalker, who refuses to leave her alone even after she breaks up with him multiple times. Bruce is downplayed as a threat to her, because on the surface, it appears that he is relatively harmless, but eventually his stalking behavior is confronted by Keegan. It bothers me that Bruce only stops bothering Maddy after Keegan gets involved. It implies that Maddy needed a man to fight her battles for her, when really, she was extremely clear with Bruce, and threatened to call the police multiple times; Bruce just didn't respect her wishes.

It also bothers me that Keegan gloats about this situation (about being "right" about Maddy's newest relationship being bad for her) and only temporarily stops his pissing contest with Bruce when he realizes that his ex-wife might actually be in legitimate danger. It reeks of possessiveness and equally controlling behavior, when he has no moral high ground, considering how many women he's slept with since his ex-wife.

Ultimately, Maddy only has three storylines over 13 epsiodes:

1) her son is sleeping with his teacher, and she's understandably upset about it.

2) her boyfriend, Bruce, turns out to be a creepy stalker who won't take "no" for an answer.

3) her ex-girlfriend from college, Glenn, gets pulled into the story in the eleventh hour, and all-too-predictably gets into a pissing match with Keegan. They make a bet to see who can sleep with Maddy first. I found this to be in incredibly poor taste, considering that Maddy has just gotten out of a stalker situation. It implies that Glenn only slept with her to mark her territory, which is incredibly upsetting.

I expected to enjoy the Glenn storyline much more than I did, considering I'm always excited for a sapphic romance. But the problem is that Maddy seems to have some internalized biphobia (she tells Glenn she "gets confused" when she's around) and Keegan accuses Glenn of having stalked Maddy in college... which is a pretty serious accusation, considering Maddy was literally just stalked like an episode ago by her current boyfriend...?

It just frustrates me that Glenn is brought in and then implied to be a "bad influence" on Maddy, which not only speaks to Keegan's continued possessiveness of his ex-wife, but also to the not-so-subtle homophobia at play. It's also stated that he, Glenn, and Maddy had a threesome in college, after which point, Maddy left Glenn for Keegan...

...which is all very confusing, considering that Keegan makes it sound like Glenn stole Maddy away from him, when really it was the other way around...? I would need to rewatch it to fully understand that point, but Maddy was definitely with Glenn before she dated Keegan.

Basically, I got upset watching this storyline, because it seemed like they made Maddy and Glenn's story into yet another over-sexualized bisexual stereotype. Keegan and Glenn fight over who is the worst influence on Maddy, almost as if Maddy were a child who can't make her own decisions about her relationships!

Anyway, Miranda does some great acting in this show, but she's in so few scenes I wouldn't bother watching the whole thing just for her.

I would give this series a 6/10, if only because there was some sapphic representation, even though I didn't find it particularly "good."

[azultecnicolor]

I also made a version with silly little glasses on:

[studebakerhearse]

I have to wonder if Laura Palmer got her name from the movie Laura where a detective covering the case of a woman's murder falls in love with her. Like as a tounge and cheek ode to the fact that her death is being romanticized at every turn.

[shinigabi-tan]

When I was overseas during the war, Your Honor, I learned a French word. I'm afraid that might be slightly suggestive.

George C. Scott’s Filmography | Claude Dancer in ANATOMY OF A MURDER (1959)

[ilgarofanoverde]

Romy Schneider on the set of 'The Cardinal', directed by Otto Preminger, 1963.

Photo Otto Preminger Films

[princess-ibri]

I'd like to know; how do you think Don Bluth's Beauty and the Beast would have turned out? I wish everyone would have been able to watch it. Just what would have been though I am not really into this Beast's design maybe the Baboon design that Disney turned down?

Hey! Thank you for your patience I wanted to have time to give this ask a proper reply, with some pictures. Overall I think it would have done well in the way of becoming a cult classic, full of beautiful images and plenty of nightmare fuel but rather cluttered in the way that most Don Bluth films tend to be, something that definitely adds to their charm but keeps them from becoming as popular as the more streamlined Disney Renaissance movies they were competing with at the time.

In terms of plot I feel like it would have taken a lot of influence from the 1946 Jean Cocteau BatB movie, as well as some influences from the original Gabrielle-Suzanne de Villeneuve version, along with some of The Grimm Brothers and Abhorsen and Moe’s “The Singing Springing Lark/Lily and the Lion/East of the Sun West of the Moon” bits, as I will explain below.

I think the Cocteau influences would have been seen most in the primary look/atmosphere of the film, we can see a lot of his dark dreamlike Romantic influences in the clothing and set design of this poster in particular. The Beast and Belle’s clothes could have come straight out of the 1946 film.

This dark dreamlike atmosphere of that film would have worked quite well with Bluth’s style of filmography which tended towards that sort of Fever Dream Unreality in many ways. But of course we also have the abundance of side characters with their own small arcs (and animal sidekicks inexplicably wearing clothes) in the mix as well. We get most of our information about them and the themes of the film from this page:

From this we gain the main theme of the film ‘a thing must be loved before it is loveable’, and several names of our animal/fairy sidekicks. Below we can see Beauty with Nan the clairvoyant dog, with Otto the escape artist lizard on top of Nan. The bird on her finger could be Max the bird detective in a more realistic design then the one with him in the large hat, or possibly just a random bird to go with the random squirrels. Wether these characters would have been true animals with quirky traits or people transformed like the Beast I don’t know, though with Bluth’s other films to go off of I tend to believe they were likely just funky animals who would have used their skills to try and help Beauty unravel the mystery of the Beast and his cursed castle.

Try as I might I couldn’t find any depictions of the King Bats that were mentioned (fairly sure I have Queen Livia and the Wee Beasties though, we’ll get to that in a moment) so I wonder if they were later replaced with these wolves? They sound like they would have e been aligned with the villain in any case.

Here’s where we get to the ‘Singing Springing Lark/Lily and the Lion/East of the Sun West of the Moon’ influences I think would have been in the film. As we can see in the picture below we have Beauty and a very much human prince fleeing from the wolves on Pegusus back— in these versions of the BatB story the heroine is forced to go on a journey to rescue the prince from an evil princess, after his Beast initial curse is broken. She is usually aided by the Wind, riding its back to go and find him, and in the Grimm version the pair escape via Gryphon. It’s not to hard to imagine Don Bluth deciding to swap out a Gryphon for a more majestic and recognizable looking Pegasus for his lovers to escape on once they’ve been reunited.

And of course we have the villain of our story, who I’m pretty sure is meant to be this Queen Livia. I mean look at this lady, all deathly pale and decked out in villainous green, pretty sure that a crown on her head as well. In the original Villeneuve version the Prince is cursed into a Beast by a wicked fairy after he refuses to marry her, I could totally see this woman cursing people left and right. Add that to how the Prince in the sketch version below seems to be facing off against this sinister looking woman’s head and I think it’s a good guess to say that Bluth’s BatB would have had a similar premise.

I’ve also pulled out charters I’m very sure are meant to be Beauty’s father and sisters (the smaller head by the Father possibly being a sketch of their mother?) once more pointing to following the old traditional tale where Beauty is faced with opposition from her sisters as well.

We’ve also got a lot of sketches of what I’m assuming are the Wee Beasties, who are 1000% precursors to the Jitterbugs we later see in Thumbelina, along with some more butterfly like fairies, who could possibly be grouped in as a prettier type of Wee Beastie or just be fairies.

So yeah, I think it overall would have followed the tone of the Cocteau film, with some added animal and fairy sidekick shenanigans as Beauty tries to discover the secret of the Beast, eventually culminating in her discovering he’s been cursed by the evil Queen Livia who seeks to marry him. The climax would be that after Beauty has broken the Beat spell by professing her love he’s whisked away by Livia to her wolf guarded home base, and Beauty and her friends have to rescue him and defeat the evil Queen once and for all, with her and the Prince escaping via Pegasus to ride off into their happily ever after (oh and with his mask I’m thinking maybe Livia gives a masked ball or something to celebrate her wedding with the Prince and Beauty crashes it).

Per the Beasts design I dont really. Ind it so much. It is a bit close to the Disney one but honestly I still preorder a composite Beast over one based solely in one animal sorry 😅 But I did find some alternatives designs for him for you!

Some of these are straight up goblin-y I love it 😆

[dreaminginthedeepsouth]

John Cleese and Terry Gilliam are the only members of Monty Python to be nominated for Oscars. Coincidentally, they were both for Best Original Screenplay, Gilliam for "Brazil" (1985) and Cleese for "A Fish Called Wanda" (1988). Both screenplays did not win their Oscars, and both films featured Michael Palin. Cleese said that he based the character of Otto on a Zen Buddhist teacher that he once had seen in an advertisement, a man who pretended to be knowledgeable but looked "singularly unimpressive." He decided to write Otto as a man "not smart enough to realize how stupid he was." Kevin Kline ad-libbed a lot of material as he gradually found the character. Jamie Lee Curtis was listed as "Jamie Lee Schwartz" on all of the call sheets, because Cleese found it amusing that her father Tony Curtis' real name was Bernard Schwartz. Gilliam noted among his Monty Python co-stars that there seemed to be a division between the taller, more "aggressive" Cambridge men (Cleese, Graham Chapman, & Eric Idle) and the shorter, lighter-humored Oxford men (Michael Palin & Terry Jones), the latter of which the American Gilliam found himself closer to. Gilliam considered Cleese the most "Cambridge" of the group, being the tallest and most "aggressive" member of Monty Python. Just to see if anyone would notice, during the early 1970s Cleese added one obviously fake film per year to his annual filmography listing in Who's Who. For the record, these fake films were "The Bonar Law Story" (1971), "Abbott & Costello Meet Sir Michael Swann" (1972), "The Young Anthony Barber" (1973) and "Confessions of a Programme Planner" (1974). Although Cleese confessed to the gag in the 1980s, mentions of these bogus films still appear from time to time in scholarly works on Cleese, including the entry in the Encyclopedia of Television, 1st ed. (1996) edited by Horace Newcomb. (IMDb) Happy Birthday, John Cleese!

[Cinema Shorthand Society]

[leonardcohenofficial]

maddie what would u recommend to watch from miss alice faye?

okay SO before watching any of her movies i absolutely recommend listening to a few episodes of the phil harris-alice faye show; she and phil are up there with george burns/gracie allen and jack benny/mary livingstone for best married radio duos of all time and she sings every episode and is also just extremely funny in her own right

my favorite alice film is tail spin (roy del ruth, 1939) in which she and constance bennett play rival plane racers and the film is really unique for its focus on female pilots of the day; now i'll tell (edwin j. burke, 1934) is an offbeat pre-code picture in which she has an affair with youngish spencer tracy and imho the film is worth seeing just for that; lillian russell (irving cummings, 1940) is a film that alice always cited as one of her favorite performances and it's an interesting if old fashioned biopic; alexander's ragtime band (henry king, 1938) is one of her best known performances and one of the songs she sings in it was nominated for an oscar; hello, frisco, hello is another one of her best known performances and one of the songs she sings in it WON an oscar-!; fallen angel (otto preminger, 1945) is a good underseen noir and was her last movie appearance for almost two decades—definitely worth checking out (also fun fact: the scene of her singing "america, i love you" that was used in MASH 3x09 "alcoholics unanimous" is from tin pan alley (walter lang, 1940)!!)

her filmography is definitely a mixed bag as a whole (though there are plenty of other films that are worth watching in there) but these would be where i'd start!!

[singofsolace]

Downhill (2020)

SPOILERS BELOW!! Please only read if you don’t mind a detailed review of Miranda Otto’s scenes.

Okay, so, when I said earlier that I was excited to see Miranda Otto being aggressively sexual in Julia Louis-Dreyfus’ direction, I didn’t realize how accurate that description was actually going to be of pretty much every scene they had. Miranda Otto has a total of three scenes (maybe four, if you’re counting by changes of location), but the scenes are truly a delight to watch, and the movie is only 90 minutes, so the role feels significant despite not being in every part.

The following scene breakdowns are just what I remember the most, having only seen it once. The movie theater did not have closed captions, which made it difficult to understand what Miranda in particular was saying, because damn, girl, her German accent was thick as fuck in the opening scene!! (I wonder if they asked her to ease up on it as the movie goes along...? I don't know. But I just remember several of her early lines being a complete mystery to me, which is unusual, because I usually can understand accents pretty well.)

Scene One:

Charlotte (Miranda) unexpectedly appears behind the married couple, Billie (Julia Louis-Dreyfus) and Pete (Will Ferrell), as they’re trying to check into their apparently adults-only hotel. She has a thick German accent, and seems to know way more about them than a hotel manager normally would. She even apologizes for not meeting them at the airport, which baffles Billie and Pete. 

She goes on to tell them that they should go to the spa, and that they consider bathing suits to be unsanitary at the hotel, so the couple ought to go nude. Billie seems uncomfortable at this suggestion, and so Charlotte tells her she ought to celebrate her body. “Your body is good,” Charlotte declares in the gayest possible way, because Miranda insists on making every character she plays a chaotic bisexual. 

Scene Two:

Charlotte is sitting alone in the hotel restaurant/bar, having a drink. She beckons the couple over, and they have a very, very, very uncomfortable conversation about Charlotte having enough time to “catch a dick whenever she likes.” Most people have probably seen this clip out of context, but trust me when I tell you, it is even more uncomfortable in context, because her chosen lover of this particular weekend shows up right after this declaration, and is under the impression that they aren’t just having a casual fling. Insert super cringe-y moment where it’s clear that Charlotte is only using him for sex, while the man actually seems to care about her, and didn’t realize that that was the “arrangement.” 

This scene is also when Pete explains that he’s trying to live every day as if it were his last, because his father recently passed away. Billie, however, is spending the whole scene quietly fuming, because there was a “controlled” avalanche earlier, and while Billie immediately tried to protect and comfort their children, Pete ran away. Charlotte/Miranda has a blink-and-you’ll-miss-it moment (which delighted me) where she looks to Billie with wide, sympathetic eyes, even as the men keep arguing that it wasn’t a big deal. Charlotte is the first one to legitimize Billie’s feelings about the avalanche having been a traumatic moment for her, and suggests they make a formal complaint with the mountain. It’s very sweet, I think, for a woman who makes her money off of the mountain’s customers, to still insist that the matter not just be forgotten.

Scene Three-to-Four:

When Billie decides to ski alone for the day, Charlotte suddenly appears in the locker room as Billie’s putting on her ski boots and ogling a semi-nude man putting equipment away. Charlotte teases Billie about her wandering eye, but she is also very supportive of Billie wanting to spend the day alone (though it kind of defeats the purpose of a “solo” day if a mysterious German lady insists on tagging along.) Seriously, Miranda doesn’t have a straight bone in her body in this movie, despite playing an aggressively (hetero)sexual woman. 

They go into the gondola, bypassing the line because Charlotte knows how to impress a girl. The gondola scene is my absolute favorite one in the entire movie. Honestly, Julia and Miranda just knock that scene right out of the park. They have such a brilliant dynamic together. Charlotte wants to know if Billie is satisfied with her sex life, and makes comments to the effect that she doesn’t seem like the kind of woman who has “been around the block.” Billie informs her that she is, indeed, experienced, but that her experiences were back in college. At this point, she mimes giving a blowjob, and Charlotte/Miranda, in my favorite moment of the whole movie (because it’s gay as fuck) says that she doesn’t like giving blowjobs, and she only does what she likes, which includes masturbating every day. 

Billie gets slightly judgmental about the fact that Charlotte wears a wedding ring, and does indeed have a husband--who she only sees in the summer. Charlotte insists that she’s happy with her life, and doesn’t see why she should be ashamed of having frequent sex with hotel guests during the winter. I’m actually really satisfied with the way they handled this conversation, because before this scene (which is unfortunately the last Miranda has in the movie, though it is very long) they make her out to be a caricature--a hilarious caricature, don't get me wrong--but definitely a stereotype of a foreign woman who is highly sexualized for the purpose of making the prudish Americans uncomfortable.

Anyway, the last thing Charlotte says before they get out of the gondola is that she’s sore (down there) because “Charlie is an animal.” Charlie is the man from earlier who wasn’t on the same page as her about it being a casual affair. This line made me just as uncomfortable as it made Billie, because the image it put in my head/the feeling it put in my body was not one I wanted to have in an otherwise really heartfelt, comedic scene about two women who have different opinions about sex. I know that plenty of people enjoy rough sex; it was just the way it was meant to be a “button” to the scene that made me feel uncomfortable, like Billie was supposed to laugh at the fact that Charlotte was in pain...? and then she didn’t, but it was still a line that was supposed to get a laugh...and idk it made me feel wrong.

When they get out of the gondola, there is a man waiting for them to give Billie a skiing lesson. Charlotte has arranged for Billie to have a “private lesson,” with innuendo intended. She waves goodbye, and returns to the gondola. That’s it for Miranda in the movie, though I held out hope that she would come back at the end. (She didn’t.)

Let me know what you think of this breakdown/review! I definitely think the movie is worth seeing. Julia Louis-Dreyfus does some simply phenomenal acting in it, and if you’re a fan of Miranda’s, it’s definitely worth the price of admission to see her in this movie.