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wellntruly · 3 years

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I rank all the movies I've watched from 2021 (40)

It’s that time again!! i.e. sneaking in just before Hollywood’s Biggest Night 🎩 (lol)

Title links go to my original spoiler-free Letterboxd reviews, followed by another link if I also wrote a longer piece (I always note if there will be spoilers in those, if there is no note you’re good!)

No building up this time we’re just starting at the top:

1. The Souvenir: Part II

When I walked out of the theater after seeing this I felt so fucking alive. [Full review]

2. The Power of the Dog

What I want to holler here I can’t holler for spoilers. Love that in a movie!!! Anyway the phrase that has gotten others to watch it: queer western gothic. [Full review]

3. The Green Knight

Sexiest movie of the year a meditation on death, feels good feels right. Revisionist medievalism re-edited over a pandemic to be longer and mistier. Daniel Hart’s score my most-listened-to album of 2021. The cloak is gold. Catch me on a certain day and this might be my #1. [Full review]

4. Drive My Car (ドライブ・マイ・カー)

Tender! [Full review]

5. Bo Burnham: Inside

Film of the year actually though [Full review]

6. Bergman Island

Interestingly given my love for it, I haven’t really recommended this yet to anyone. Watching Mia Wasikowska dance by herself is something that can actually be so personal..?

7. Pig

We’ll get to it if I post my nominations but Alex Wolff best supporting actor. [Full review]

8. Spencer

Sad girl Christmas! We love a daymare. Crafts exquisite, Kristen also exquisite. Weirder even than I hoped. [Full review]

9. The Matrix Resurrections

Haha go Lana, GO Lana! Wild this movie exists. Matrix Winter was such a time. [Full review]

10. Annette

The thing is this is boldest cinematic imagining I saw all year. I saw nothing else like this. Does all of it work? No! Is anyone else doing half of this? Noooooooo. And for good reason! But thank god Leos Carax will! Simon Helberg also best supporting actor. Why was Marion Cotillard eating so many apples… Fuck! Annette! Remember when Baby Annette!!?!

11. Azor

The Martin Eden prize for stylish, little-seen international feature that I keep bugging people about. “Did you guys see Azor though?” “What?”

12. Dune

If you go to my Letterboxd post you’ll see I only gave this movie 3.5 stars, but I already know it’s raising to 4 when I rewatch it, just on the power of vibes. Now that’s desert power. (God it’s so silly though!) (We can admit that a little bit right?) (Denis??) (Denis can’t hear me over his Rice Krispies sand)

13. Passing

First Harold of a very Harold year, babyyyy! Truly though I read the novella after and this was such an assured adaptation.

14. The French Dispatch

Bananas to say this but people are really undervaluing Wes Anderson, one of our greatest directors. Do you know that only one of his films has ever even been nominated for any crafts categories at the Oscars? Meanwhile no one is doing the work quite like him. And the first and third acts and especially interstitial of this are remarkable.

15. Flee (Flugt)

Sometimes the year's wrenching Afghan refugee story also includes a dance sequence to a-ha's 'Take On Me' five minutes in. Something something humanity, basically.

16. The Tragedy of Macbeth

The stars are lights on a velvet sky!! Honestly the fact that I hold this so high (such as higher than the next one!) is really a testament to how far design elements will get you with me.

17. The Worst Person In the World (Verdens verste menneske)

I did like it but! is it weird she doesn’t have a single female friend? Or…any friend? Renate and Anders very good though. Oslo looks like, restful.

18. A Hero (قهرمان)

I saw a picture of this actor later and I didn’t believe it. Performance!

19. Shiva Baby

I have never wanted to watch someone eat a bagel more. I lived vicariously through every bite of that bagel. Why am I so bagel deprived, shit. Is it because I left New York. Anyway Uncut Gems found in the back of the van under all of Joel’s boxes.

20. Parallel Mothers (Madres paralelas)

I just need to impress on you that in this film Penélope Cruz makes a tortilla española. Wow my top twenty is ending very hungry. (And wlw) (Harold look alive!)

And now the also-rans!

Musicals Corner

West Side Story Cyrano Tick, Tick…BOOM!

I gave all three of these 3.5 stars and they all landed back-to-back and that was not intentional but is: kinda funny. Interestingly I don’t think any of these three directors would begrudge me this. They wouldn’t, would they? They’d all be like aw thanks for the good company, I liked what those guys were doing too.

More 3.5's

The Lost Daughter Zola No Time To Die

This is a weird combo and yet, something about it kind of flows. I enjoy a 3.5! 3.5 is on the whole positive.

Some kinda complicated 3's that I nonetheless do keep thinking about at odd moments

The Hand of God (È stata la mano di Dio) Benedetta House of Gucci The Last Duel

Sometimes 3 means: ambivalent. Wow I don’t know! I think all of these are interesting though, I know that. Also those two Ridley Scotts could really go in either order, have swapped several times just while I typed this up.

3's that were perfectly fine and that’s it

CODA I’m Your Man (Ich bin dein Mensch) In the Heights

Sometimes that’s it!

The Belfast Award for Belfast (2.5)

Belfast

Weirdly, I’m very glad I watched it.

And lastly: I’m sorry ❤️

Nightmare Alley F9

There would certainly be others in this category with them, but I simply chose not to, because I'm not sure that sorry would get the heart.

There were also plenty others I just haven’t got around to yet, nothing personal! I will catch you later probably, C’mon C’mon and The Humans and Wheel of Fortune & Fantasy and idk, Old?? Actually I do still kinda wanna watch Old…why do I wanna watch Old..! Stop me from watching Old.

Also, the rest of the docs I watched:

Summer of Soul Procession Listening to Kenny G The Truffle Hunters

All five documentaries I saw were doing such different things and I like that about the medium very much. Animated memoir, historical concert film, experimental/drama therapy, the only way to do a talking-heads style doc, and a sort of natural-world mosaic with kinda no center but beauuutiful cinematography. A very good year for non-fiction! Actually technically The Truffle Hunters might have been a 2020, but I couldn’t figure it out? I mean is Cyrano even a 2021 and not actually a 2022? Emotionally?? WHAT YEAR EVEN IS IT.

It is 2022, definitely, (checks), and I am finally calling it on the films of 2021. Happy Oscars week.

#Wellntruly's Watch Log #The Movies

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tcm · 3 years

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Don’t Let the Subtitles Scare You: The History of the Best Foreign Language Film Oscar By Raquel Stecher

The Academy Awards has a long and complicated history of recognizing international films. The Best Foreign Language Film category, now the Best International Feature Film, was an attempt to rectify this and give international filmmakers, with films in languages other than English, an opportunity to earn the coveted Oscar statuette.

It all started with Conrad Nagel. He was one of the founding members of the Academy of Motion Picture Arts and Sciences (AMPAS). When he and 35 fellow members of the film industry convened at the Ambassador Hotel in 1927 to discuss the path forward for the organization, Nagel suggested that “International” be included in the title. According to writer Michael S. Barrett, “he was persuaded to drop the International and for many years AMPAS appeared specifically dedicated to American films.”

Prior to 1957, foreign language films struggled to get noticed by the Academy. Jean Renoir’s GRAND ILLUSION (’37) was the first international film nominated for Best Picture. Other films were recognized in categories such as Best Writing and Best Art Direction, but these instances were few and far between. Then came WWII, which had a major impact on international filmmaking. Barrett writes, “out of the ashes of war came a crop of innovative filmmakers champing at the bit to do something creative and useful, and this was shown in the new styles of moviemaking under which they labored, fervently promoted and eventually attained undying fame.” American audiences were drawn to Italian Neorealism, Japanese Jidaigeki and later the French New Wave as exciting and new forms of cinema.

For the 20th Academy Awards in 1948, AMPAS’ Board of Governors created an honorary award for Best Foreign Language Film. At first it was not a competitive award. There were no nominees, the Board would select just one film and while the honorary award was presented during the ceremony, news of the winner would often be announced before the ceremony. From 1948 to 1956, eight foreign language films were awarded, including SHOESHINE (’46) and BICYCLE THIEVES (’48) from Italy; MONSIEUR VINCENT (’47), THE WALLS OF MALAPAGA (’49) and FORBIDDEN GAMES (’52) from France; and RASHOMON (’50), GATE OF HELL (’53) and SAMURAI I: MUSASHI MIYAMOTO (’54) from Japan. Interesting to note that they completely skipped the award in 1954 and no explanation was given as to why.

The special achievement award morphed into a competitive one in 1957. Countries could submit one film for competition as long as they fit the Academy’s strict criteria. Films had to be longer than 40 minutes to be considered feature length, from a country outside the US and include more than 50% non-English dialogue. But of course, to be considered, English-language subtitles were necessary. Only the country’s officially designated representative could submit a film for consideration. The Academy would then select five nominees from the submissions and members voted on secret ballots. The rules shifted over time. Since 2006, it’s no longer required that the language spoken in the film be the most commonly spoken language of that country. Also rules about both public and private Academy screenings in the Los Angeles area have changed and now a film no longer has to be screened in the U.S. to qualify. Technically, the winner of the Oscar is the country of origin and not the director or producer, however they are usually the ones to accept the award at the ceremony.

The first Best Foreign Language Film was presented by AMPAS president George Seaton to Italy for Federico Fellini’s LA STRADA (’54). The award was accepted by producer Dino De Laurentiis. Early winners included France’s BLACK ORPHEUS (’59) and MON UNCLE (’58), Sweden’s THE VIRGIN SPRING (’60) and Italy’s NIGHTS OF CABIRIA (’57) and 8-1/2 (’63). Some critically acclaimed foreign films were overlooked because they either weren’t submitted by their native country or were disqualified for some reason or another. These included major films like LA DOLCE VITA (’60) and THE SEVENTH SEAL (’57). And if a foreign film was screened in the US, it had a better chance at winning the coveted prize. Once a foreign language film won the Best Foreign Language Film Oscar, it would be screened in the U.S., qualifying it for other competitive categories, like Best Director, Best Writing, Best Costume Design, etc. the following year.

Presenters for this category have almost always been either actors or the current AMPAS president. Jack Valenti, longtime president of the Motion Picture Association of America (MPAA) holds the record for most presentations for this category. Having recently watched all of the televised presentations and acceptance speeches on the Academy’s YouTube channel, I couldn’t help but notice the consistent trend of flowery speeches about the universal language of cinema. A few presenters stood out. Stars like Jane Fonda and Anthony Quinn openly criticized the use of the word “foreign” in the category. It’s always been required that the winner deliver their speech in English. As acceptance speeches grew longer over time, many filmmakers, especially from war torn nations, would seize the moment and the platform to deliver a poignant message.

There are three acceptance speeches that stand out to me. Perhaps the most famous one is from 1999 when actor/director Roberto Benigni accepted the award for LIFE IS BEAUTIFUL (’98). Benigni leapt from his seat, walked over guests, hopped up the steps and gave presenter Sophia Loren the biggest hug. His speech was incredibly emotional and there wasn’t a dry eye in the house by the end of it. My second favorite was delivered by director Alfonso Cuaron for his film ROMA (2018). While the Academy hasn’t publicly admitted this, I think Cuaron’s speech, in which he very gently criticizes the category and thanks the nominees who “have proven that we are part of the same ocean,” influenced change. The following year the Academy quickly pivoted and changed the category to Best International Feature Film. Dutch director Fons Rademakers whose film THE ASSAULT (’86) won in 1987, delivers my favorite speech. In it, he speaks to the general aversion to foreign language films by saying “This Foreign Language Oscar has a request... please don't let subtitles scare you off as much as they seem to do from time to time.” Take his advice. Watch more international films!

#International films #Academy Awards #Oscars #best foreign language film #Best Oscar #history #tcm #Turner Classic Movies #Raquel Stecher

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jesse-eisenberg-interview · 2 years

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Jesse Eisenberg to direct ’A Real Pain’, will star opposite Kieran Culkin (exclusive)

Jesse Eisenberg has set his next feature as writer-director – A Real Pain – and is lining up a March 2023 shoot in Warsaw, Poland.

Eisenberg will lead the cast alongside Succession star Kieran Culkin. The story will follow two estranged cousins who travel to Poland after their grandmother dies to see where she came from and end up joining a Holocaust tour.

Dave McCary, Emma Stone and Ali Herting’s US production company Fruit Tree will reunite with Eisenberg after producing his feature directing debut When You Finish Saving The World, which premiered online at Sundance this year and went on to play Cannes.

Speaking to Screen about the main characters Eisenberg said “They have a funny, fraught relationship; it’s a bittersweet story, as we realise maybe we don’t fully belong together, but against the backdrop of this incredibly dramatic history.

“I’m trying to ask the question is modern pain valid against the backdrop of real historical trauma. I think I’m speaking to the experience of people [in their 30s] who go back and it’s foreign to them – and now suddenly real.”

Eisenberg said he is hoping to use “as much of the crew as I can bring” from his first film alongside Polish crew. “Luckily I’m shooting in a country that has an amazing film tradition.”

The actor-filmmaker comes from a secular Jewish background and his ancestry traces back to Poland. His acting roles include 2020 biographical drama Resistance, about the French mime Marcel Marceau’s role in the French Resistance during the Second World War.

Eisenberg is attending Sarajevo Film Festival this week, where he accepted the honorary Heart of Sarajevo award on Monday and has since participated in a ‘Coffee with..’ discussion and masterclass session.

Social status

Having received international acclaim and a best actor Oscar nomination for playing Facebook founder Mark Zuckerberg in 2010’s The Social Network, Eisenberg’s first film as director has a lead character who is obsessed with his social media following.

However he personally avoids that realm. “I have probably the most cynical attitude a person could have – especially a person in media,” he said. “My attitude stems from the fact that I’m a very public person, so I really try to maintain privacy in my personal life. So I’m completely befuddled when I see somebody posting something about the personal life on the internet, because to me it seems like you have the greatest luxury in the world, of privacy.

“Why the hell would you put yourself in a bikini eating spaghetti on the internet?”

Regarding Zuckerberg and how social media has changed the world in the 12 years since the film, Eisenberg said, “I don’t feel that he was thinking of changing the world for the better. He’s not seen as this benevolent force for social change. So that is concerning to me – that something with so much power and influence didn’t start with the intentions of some kind of social benevolence. So that kind of worries me.”

He also addressed the encroachment of social media on the acting profession – specifically the issue of actors and actresses being asked to show social media followings when auditioning for roles. “I’m so lucky I started acting before that became a thing, because I would’ve maybe been at a disadvantage,” he said. “I guess now it’s just part of the thing – I don’t know, that’s sad.”

On casting the plays he has written and When You Finish Saving The World, Eisenberg said: “I would look up an actor and sometimes they’d write something online that was so strange. You almost feel like, ‘I wish I didn’t know that about this person. They’re fantastic, I wish I didn’t know that they have an opinion about this random politician.’

“It just feels weird and distracting, and takes away from this wonderful thing actors have, which is [that] you can be mysterious in your personal life, so that when the public sees you in a role, they can engage with it as something new. That has completely disappeared.”

A24 holds US rights to When You Finish Saving The World and has not yet set a release date. Eisenberg said he tries “to stay uninvolved” in all distribution discussions – “it has nothing to do with anything that I’m good at” – and doesn’t watch himself on screen. He added that sometimes he doesn’t even know when his films come out.

Sarajevo Film Festival continues until Friday (August 19).

SOURCE

#jesse eisenberg #2022 #a real pain #Kieran Culkin

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just-a-demi-bean · 4 years

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Stop asking the cast of Minari about the Farewell and Parasite. Let me enlighten you:

Parasite is a Korean film, set in Korea, with Korean actors and directed by a Korean.

The Farewell is an film, about a Chinese-American who goes to China, directed by a Chinese-American filmmaker.

Minari is about!! A Korean-American family!!!!! That is in!!!!! America!!!! Directed!!!! By!!!! A!!!! Korean!!!!! American!!!!!!!

They’re not the same thing. Please stop grouping them together. This isn’t that difficult to understand, and yet there are still interviewers asking the cast about this “momentous occasion” or whatever, comparing their success. They’re very separate films, and honestly, they have very few similarities. Grouping them together is grouping completely different cultures, different genres, and if you watched the three, you’ll find that they are very different.

Parasite is about class. The Farewell is about handling loss and illness. Minari is about the American Dream. They are separate genres. They are separate cultures. They are separate films and they should not be grouped together just because the majority of the cast is Asian.

So, let’s talk about the whole “foreign language film” thing. If you don’t know, there’s a controversy happening in Hollywood that has been around for some time, most famously with the Farewell. Although it was produced by an American company, with a Chinese-American actor portraying the protagonist, a Chinese-American, and directed by a Chinese-American, it was classified as a Foreign Language film by the Golden Globes, and could not be nominated for best picture. Why? Because there’s a rule that 50% or more of the dialogue has to be in English.

It’s kind of messed up, and here’s why: If there was a Chinese film produced by a Chinese company with Chinese actors and directed by a Chinese director, but 50% or more of it was in English, it would be able to be nominated for Best Motion Picture, but the Farewell could not be. Do you see the problem?

And the same thing is happening with Minari. Although it’s about Americans, set in America, produced by an American company, filmed in America, directed by an American, and is literally about the so-called “American Dream”, because the majority of the dialogue is Korean, it is an international film.

And still, films such as Inglourious Basterds and Babel have been nominated for best picture at the Globes. Inglourious Basterds is mainly in German and French, with only about 30% in English. Babel is in Spanish. And yet despite this, they were nominated, but Minari and the Farewell were not.

Just think about that for a moment. It’s disgusting and it’s racist and Hollywood seriously needs to get their rules straight. Minari and the Farewell deserved to be nominated for best picture, like Inglourious Basterds and Babel.

So, to Hollywood, the Golden Globes, and the Hollywood Foreign Press Association, as well as those people who think that all East-Asians are the same: Get your rules straight. These films are not the same. These cultures are not the same.

Sincerely, a Korean-Japanese American who just wants representation without this idiocy.

@haneul-s :P

#minari #the farewell #parasite #sorry

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hearttstopper · 4 years

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Tron: Legacy director Joseph Kosinski and music supervisor Jason Bentley approached Daft Punk and requested that the duo compose the film score. When asked why he wished to work with the duo, Kosinski replied, "How could you not at least go to those guys?"

A unique blend of orchestral and electronic music; the hour long electronic-symphonic mashup features an 85-piece orchestra, and was recorded at AIR Lyndhurst Studios in London over the course of two years. In the end, arranger and orchestrator Joseph Trapanese felt he had struck a near-perfect harmony with Daft Punk:

“It seems complicated at the end of the day, but it’s actually quite simple. I was locked in a room with robots for almost two years and it was simply a lot of hard work. We were just together working throughout the whole process and there was never a point where the orchestra was not in their minds and the electronics were not in my mind. It was a continual translation between the two worlds - and hopefully we put something together that will be something different because of that.”

The album went on to receive both critical & commercial success, debuting at number 10 on the Billboard 200 albums chart, going Gold 4X, and earning multiple awards. In late 2010, it was named Best Original Score for a Fantasy/Science Fiction/Horror Film by the International Film Music Critics Association, and in 2011 was nominated for Best Score Soundtrack Album for Visual Media at the 54th Grammy Awards. It is the first and only soundtrack that the french duo Daft Punk has ever produced. 🖤

#just listening to my all time favorite film score in honor of daft punk 🥺#this movie + soundtrack had SUCH an impact on me. i cannot state enough how much it meant to me at the time.#love it forever and always #daft punk #tron: legacy #*#Spotify

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fiftytwotwenty · 4 years

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Movie Monday - Nov 16th, 2020

"My Favorite Foreign International Films"

So something I learned earlier this year is the Academy Awards category, "Best International Fim" - previously "Best Foreign Language Film" is somewhat flawed.

I read up on the category/topic more during the 2020 Academy Awards when Parasite had a breakthrough year.

First off - Why the name change?

Well, in the broadest aspects the word "Foreign" can be considered Politically Incorrect - by labeling an entire film - a piece work, or an entire film crew as foreign you are basically saying they are "Other" which could be construed as lesser. Renaming the category to "Best International Film" is a step to seem more inclusive as films should be a universal experience - the category is after all a celebration of World Cinema.

The name change however did not change any of the qualifications in regards to reaching the award ceremony - such qualifications as:

The featured language in the movie needs to predominantly Non-English - so this majorly affects countries like Australia, New Zealand, Canada, and the United Kingdom - you know, because if you speak English you must be American - you have no added culture.

This rule/mindset screwed over Nigeria, a country whose official language is English due to its past British rule. Nigeria submitted the film Lionheart, THE COUNTRY'S FIRST EVER SUBMISSION, to the 2020 Academy Awards and was disqualified as the English language was widely used in the film.

So to recap - An African country was disqualified from even being considered a nominee at the Oscars because their Official Language was not "Foreign" enough.

Now, just because English is your official language does not automatically exclude you - Australian, Canadian, and the UK film makers have made Non-English films just so they could be considered for the category.

Another aspect of a International Film category is that Each Country Chooses just ONE movie to represent their country - Only ONE. When it comes time all the International Films are finally whittled down to just 5 nominees for the Oscar ballot.

For most countries, like Italy (14 Oscar Wins - 28 nominations) and France (37 Oscar nominations - the most of any country, and 12 Oscar wins), this does not pose any issues as they are very open in regards to their selection process.

But when you consider countries like Russia, China, or Iran where creativity is censored or suppressed you are mostly likely not getting the best of the best.

Due to the censorship some people suggest creating an International panel to assist with each country's film selection, but how much power do we provide this panel and how will this affect countries like France and Italy that do not seem to have censorship issues?

These are some of the main issues the International Film category faces currently.

So now that we talked shop - it is time for me to talk about my personal favorites - I will note all these films are must sees in my book, but do not necessarily garnish repeat viewings.

Also, I am leaving out Amélie (2001), a true personal favorite, off the list because everyone and their hypoallergenic service dogs loves the film as well.

Without further ado...

In Order of the Rising Sun:

Hunt for the Wilderpeople (2016)

Origin: New Zealand

Language: English

Director: Taika Waititi

Synopsis:

A national manhunt is ordered for a rebellious kid and his foster uncle who go missing in the wild New Zealand bush.

Kung Fu Hustle (2004)

Origin: Hong Kong, China

Language: Chinese

Director: Stephen Chow

Synopsis:

In Shanghai, China in the 1940s, a wannabe gangster aspires to join the notorious "Axe Gang" while residents of a housing complex exhibit extraordinary powers in defending their turf.

Dogtooth (2009)

Origin: Greece

Language: Greek

Director: Yorgos Lanthimos

Synopsis:

Three teenagers live isolated, without leaving their house, because their over-protective parents say they can only leave when their dogtooth falls out.

Cinema Paradiso (1988)

Origin: Italy

Language: Italian

Director: Giuseppe Tornatore

Synopsis:

A filmmaker recalls his childhood when falling in love with the pictures at the cinema of his home village and forms a deep friendship with the cinema's projectionist.

Raw (2016)

Origin: France

Language: French

Director: Julia Ducournau

Synopsis:

A young woman, studying to be a vet, develops a craving for human flesh.

Abre Los Ojos (1997)

Origin: Spain

Language: Spanish

Director: Alejandro Amenábar

Synopsis:

A very handsome man finds the love of his life, but he suffers an accident and needs to have his face rebuilt by surgery after it is severely disfigured.

Relatos Salvajes (2014)

Origin: Argentina

Language: Spanish

Director: Damián Szifron

Synopsis:

Six short stories that explore the extremities of human behavior involving people in distress.

So... There you go, Happy Viewing

#Movie Monday #52 on 20 #Favorite Foreign Films #Favorite International Films #Hunt For the Wilderpeople #Kung Fu Hustle #Dogtooth #Raw #Cinema Paradiso #Abre Los Ojos #Relatos Salvajes

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timeless-hollywood-classics · 4 years

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Gene Eliza Tierney (November 19, 1920 – November 6, 1991) was an American film and stage actress. Acclaimed as a great beauty, she became established as a leading lady. Tierney was best known for her portrayal of the title character in the film Laura (1944), and was nominated for an Academy Award for Best Actress for her performance as Ellen Berent Harland in Leave Her to Heaven (1945).

Tierney's other roles include Martha Strable Van Cleve in Heaven Can Wait (1943), Isabel Bradley Maturin in The Razor's Edge (1946), Lucy Muir in The Ghost and Mrs. Muir (1947), Ann Sutton in Whirlpool (1949), Maggie Carleton McNulty in The Mating Season (1951), and Anne Scott in The Left Hand of God (1955).

I Gene Eliza Tierney was born on November 19, 1920 in Brooklyn, New York, the daughter of Howard Sherwood Tierney and Belle Lavinia Taylor. She was named after a beloved uncle, who died young.[4][page needed] She had an elder brother, Howard Sherwood "Butch" Tierney Jr., and a younger sister, Patricia "Pat" Tierney. Their father was a successful insurance broker of Irish descent, their mother a former physical education instructor.[4][page needed]

Tierney was raised in Westport, Connecticut. She attended St. Margaret's School in Waterbury, Connecticut, and the Unquowa School in Fairfield. She published her first poem, entitled "Night", in the school magazine and wrote poetry occasionally throughout her life. Tierney played Jo in a student production of Little Women, based on the novel by Louisa May Alcott.

Tierney spent two years in Europe, attending Brillantmont International School in Lausanne, Switzerland, where she learned to speak fluent French. She returned to the US in 1938 and attended Miss Porter's School in Farmington, Connecticut. On a family trip to the West Coast, she visited Warner Bros. studios, where a cousin worked as a producer of historical short films. Director Anatole Litvak, taken by the 17-year-old's beauty, told Tierney that she should become an actress. Warner Bros. wanted to sign her to a contract, but her parents advised against it because of the relatively low salary; they also wanted her to take her position in society.

Tierney's society debut occurred on September 24, 1938, when she was 17 years old. page needed] Soon bored with society life, she decided to pursue an acting career. Her father said, "If Gene is to be an actress, it should be in the legitimate theatre." Tierney studied acting at a small Greenwich Village acting studio in New York with Yiddish and Broadway actor/director Benno Schneider. She became a protégée of Broadway producer-director George Abbott.

In Tierney's first role on Broadway, she carried a bucket of water across the stage in What a Life! (1938). A Variety magazine critic declared, "Miss Tierney is certainly the most beautiful water carrier I've ever seen!" She also worked as an understudy in The Primrose Path (1938).

The following year, she appeared in the role of Molly O'Day in the Broadway production Mrs. O'Brien Entertains (1939). The New York Times critic Brooks Atkinson wrote, "As an Irish maiden fresh from the old country, Gene Tierney in her first stage performance is very pretty and refreshingly modest." That same year, Tierney appeared as Peggy Carr in Ring Two (1939) to favorable reviews. Theater critic Richard Watts Jr. of the New York Herald Tribune wrote, "I see no reason why Miss Tierney should not have an interesting theatrical career – that is, if cinema does not kidnap her away."

Tierney's father set up a corporation, Belle-Tier, to fund and promote her acting career. Columbia Pictures signed her to a six-month contract in 1939. She met Howard Hughes, who tried unsuccessfully to seduce her. From a well-to-do family herself, she was not impressed by his wealth. Hughes eventually became a lifelong friend.

After a cameraman advised Tierney to lose a little weight, she wrote to Harper's Bazaar magazine for a diet, which she followed for the next 25 years. Tierney was initially offered the lead role in National Velvet, but production was delayed. page needed] When Columbia Pictures failed to find Tierney a project, she returned to Broadway and starred as Patricia Stanley to critical and commercial success in The Male Animal (1940). In The New York Times, Brooks Atkinson wrote, "Tierney blazes with animation in the best performance she has yet given". She was the toast of Broadway before her 20th birthday. The Male Animal was a hit, and Tierney was featured in Life magazine. She was also photographed by Harper's Bazaar, Vogue, and Collier's Weekly.

Two weeks after The Male Animal opened, Darryl F. Zanuck, the head of 20th Century Fox, was rumored to have been in the audience. During the performance, he told an assistant to note Tierney's name. Later that night, Zanuck dropped by the Stork Club, where he saw a young lady on the dance floor. He told his assistant, "Forget the girl from the play. See if you can sign that one." It was Tierney. At first, Zanuck did not think she was the actress he had seen. Tierney was quoted (after the fact), saying: "I always had several different 'looks', a quality that proved useful in my career."

Tierney signed with 20th Century-Fox[4][page needed] and her motion picture debut was in a supporting role as Eleanor Stone in Fritz Lang's western The Return of Frank James (1940), opposite Henry Fonda.

A small role as Barbara Hall followed in Hudson's Bay (1941) with Paul Muni and she co-starred as Ellie Mae Lester in John Ford's comedy Tobacco Road (also 1941), and played the title role in Belle Starr alongside co-star Randolph Scott, Zia in Sundown, and Victoria Charteris (Poppy Smith) in The Shanghai Gesture. She played Eve in Son of Fury: The Story of Benjamin Blake (1942), as well as the dual role of Susan Miller (Linda Worthington) in Rouben Mamoulian's screwball comedy Rings on Her Fingers, and roles as Kay Saunders in Thunder Birds, and Miss Young in China Girl (all 1942).

Receiving top billing in Ernst Lubitsch's comedy Heaven Can Wait (1943), as Martha Strable Van Cleve, signaled an upward turn in Tierney's career. Tierney recalled during the production of Heaven Can Wait:

Lubitsch was a tyrant on the set, the most demanding of directors. After one scene, which took from noon until five to get, I was almost in tears from listening to Lubitsch shout at me. The next day I sought him out, looked him in the eye, and said, 'Mr. Lubitsch, I'm willing to do my best but I just can't go on working on this picture if you're going to keep shouting at me.' 'I'm paid to shout at you', he bellowed. 'Yes', I said, 'and I'm paid to take it – but not enough.' After a tense pause, Lubitsch broke out laughing. From then on we got along famously.

Tierney starred in what became her best-remembered role: the title role in Otto Preminger's film noir Laura (1944), opposite Dana Andrews. After playing Tina Tomasino in A Bell for Adano (1945), she played the jealous, narcissistic femme fatale Ellen Berent Harland in Leave Her to Heaven (1945), adapted from a best selling novel by Ben Ames Williams. Appearing with Cornel Wilde, Tierney won an Academy Award nomination for Best Actress. This was 20th Century-Fox' most successful film of the 1940s. It was cited by director Martin Scorsese as one of his favorite films of all time, and he assessed Tierney as one of the most underrated actresses of the Golden Era.

Tierney then starred as Miranda Wells in Dragonwyck (1946), along with Walter Huston and Vincent Price. It was Joseph L. Mankiewicz' debut film as a director, In the same period, she starred as Isabel Bradley, opposite Tyrone Power, in The Razor's Edge (also 1946), an adaptation of W. Somerset Maugham's novel of the same name. Her performance was critically praised.

Tierney played Lucy Muir in Mankiewicz's The Ghost and Mrs. Muir (1947), opposite Rex Harrison. The following year, she co-starred again with Power, this time as Sara Farley in the successful screwball comedy That Wonderful Urge (1948). As the decade came to a close, Tierney reunited with Laura director Preminger to star as Ann Sutton in the classic film noir Whirlpool (1949), co-starring Richard Conte and José Ferrer. She appeared in two other film noirs: Jules Dassin's Night and the City, shot in London, and Otto Preminger's Where the Sidewalk Ends (both 1950), reunited with both Preminger and leading man Dana Andrews, who she appeared with in five movies total.

Tierney was loaned to Paramount Pictures, giving a comic turn as Maggie Carleton in Mitchell Leisen's ensemble farce, The Mating Season (1951), with John Lund, Thelma Ritter, and Miriam Hopkins. She gave a tender performance as Midge Sheridan in the Warner Bros. film, Close to My Heart (1951), with Ray Milland. The film is about a couple trying to adopt a child. Later in her career, she was reunited with Milland in Daughter of the Mind (1969).

After Tierney appeared opposite Rory Calhoun as Teresa in Way of a Gaucho (1952), her contract at 20th Century-Fox expired. That same year, she starred as Dorothy Bradford in Plymouth Adventure, opposite Spencer Tracy at MGM. She and Tracy had a brief affair during this time.[10] Tierney played Marya Lamarkina opposite Clark Gable in Never Let Me Go (1953), filmed in England.

In the course of the 1940s, she reached a pinnacle of fame as a beautiful leading lady, on a par with "fellow sirens Rita Hayworth, Lana Turner and Ava Gardner". She was "called the most beautiful woman in movie history" and many of her movies in the 1940s became classic films.

Tierney remained in Europe to play Kay Barlow in United Artists' Personal Affair (1953). While in Europe, she began a romance with Prince Aly Khan, but their marriage plans met with fierce opposition from his father Aga Khan III. Early in 1953, Tierney returned to the U.S. to co-star in the film noir Black Widow (1954) as Iris Denver, with Ginger Rogers and Van Heflin.

Tierney had reportedly started smoking after a screening of her first movie to lower her voice, because she felt, "I sound like an angry Minnie Mouse." She subsequently became a heavy smoker.

With difficult events in her personal life, Tierney struggled for years with episodes of manic depression. In 1943, she gave birth to a daughter, Daria, who was deaf and mentally disabled, the result of a fan breaking a rubella quarantine and infecting the pregnant Tierney while she volunteered at the Hollywood Canteen. In 1953, she suffered problems with concentration, which affected her film appearances. She dropped out of Mogambo and was replaced by Grace Kelly.[4][page needed] While playing Anne Scott in The Left Hand of God (1955), opposite Humphrey Bogart, Tierney became ill. Bogart's sister Frances (known as Pat) had suffered from mental illness, so he showed Tierney great sympathy, feeding her lines during the production and encouraging her to seek help.

Tierney consulted a psychiatrist and was admitted to Harkness Pavilion in New York. Later, she went to the Institute of Living in Hartford, Connecticut. After some 27 shock treatments, intended to alleviate severe depression, Tierney fled the facility, but was caught and returned. She later became an outspoken opponent of shock treatment therapy, claiming it had destroyed significant portions of her memory.

In late December 1957, Tierney, from her mother's apartment in Manhattan, stepped onto a ledge 14 stories above ground and remained for about 20 minutes in what was considered a suicide attempt. Police were called, and afterwards Tierney's family arranged for her to be admitted to the Menninger Clinic in Topeka, Kansas. The following year, after treatment for depression, she was discharged. Afterwards, she worked as a sales girl in a local dress shop with hopes of integrating back into society, but she was recognized by a customer, resulting in sensational newspaper headlines.

Later in 1958, 20th Century-Fox offered Tierney a lead role in Holiday for Lovers (1959), but the stress upon her proved too great, so only days into production, she dropped out of the film and returned to Menninger for a time.

Tierney made a screen comeback in Advise and Consent (1962), co-starring with Franchot Tone and reuniting with director Otto Preminger.[4][page needed] Soon afterwards, she played Albertine Prine in Toys in the Attic (1963), based on the play by Lillian Hellman. This was followed by the international production of Las cuatro noches de la luna llena, (Four Nights of the Full Moon - 1963), in which she starred with Dan Dailey. She received critical praise overall for her performances.

Tierney's career as a solid character actress seemed to be back on track as she played Jane Barton in The Pleasure Seekers (1964), but then she suddenly retired. She returned to star in the television movie Daughter of the Mind (1969) with Don Murray and Ray Milland. Her final performance was in the TV miniseries Scruples (1980).

Tierney married two men: the first was Oleg Cassini, a costume and fashion designer, on June 1, 1941, with whom she eloped. She was 20 years old. Her parents opposed the marriage, as he was from a Russian-Italian family and born in France. She had two daughters, Antoinette Daria Cassini (October 15, 1943 – September 11, 2010) and Christina "Tina" Cassini (November 19, 1948 – March 31, 2015).

In June 1943, while pregnant with Daria, Tierney contracted rubella (German measles), likely from a fan ill with the disease. Antoinette Daria Cassini was born prematurely in Washington, DC, weighing three pounds, two ounces (1.42 kg) and requiring a total blood transfusion. The rubella caused congenital damage: Daria was deaf, partially blind with cataracts, and severely mentally disabled. She was institutionalized for much of her life. This entire incident was inspiration for a plot point in the 1962 Agatha Christie novel The Mirror Crack'd from Side to Side.

It is claimed that she had an affair with Mohammad Reza Shah of Iran during the late 1940s.

Tierney's friend Howard Hughes paid for Daria's medical expenses, ensuring the girl received the best care. Tierney never forgot his acts of kindness. Daria Cassini died in 2010, at the age of 66.

Tierney and Cassini separated October 20, 1946, and entered into a property settlement agreement on November 10. Periodicals during this period record Tierney with Charles K. Feldman, including articles related to her "twosoming" with Feldman, her "current best beau". The divorce was to be finalized in March 1948, but they reconciled before then.

During their separation, Tierney met John F. Kennedy, a young World War II veteran, who was visiting the set of Dragonwyck in 1946. They began a romance that she ended the following year after Kennedy told her he could never marry her because of his political ambitions. In 1960, Tierney sent Kennedy a note of congratulations on his victory in the presidential election. During this time, newspapers documented Tierney's other romantic relationships, including Kirk Douglas.

While filming for Personal Affair in Europe, she began a romance with Prince Aly Khan. They became engaged in 1952, while Khan was going through a divorce from Rita Hayworth. Their marriage plans, however, met with fierce opposition from his father, Aga Khan III.

Cassini later bequeathed $500,000 in trust to Daria and $1,000,000 to Christina. Cassini and Tierney remained friends until her death in November 1991.

In 1958, Tierney met Texas oil baron W. Howard Lee, who had been married to actress Hedy Lamarr since 1953. Lee and Lamarr divorced in 1960 after a long battle over alimony, then Lee and Tierney married in Aspen, Colorado, on July 11, 1960. They lived quietly in Houston, Texas, and Delray Beach, Florida until his death in 1981.

Despite her self-imposed exile in Texas, Tierney received work offers from Hollywood, prompting her to a comeback. She appeared in a November 1960 broadcast of General Electric Theater, during which time she discovered that she was pregnant. Shortly after, 20th Century Fox announced Tierney would play the lead role in Return to Peyton Place, but she withdrew from the production after suffering a miscarriage.

Tierney's autobiography, Self-Portrait, in which she candidly discusses her life, career, and mental illness, was published in 1979.

Tierney's second husband, W. Howard Lee, died on February 17, 1981 after a long illness.[24]

In 1986, Tierney was honored alongside actor Gregory Peck with the first Donostia Lifetime Achievement Award at the San Sebastian Film Festival in Spain.

Tierney has a star on the Hollywood Walk of Fame at 6125 Hollywood Boulevard.

Tierney died of emphysema on November 6, 1991, in Houston, thirteen days before her 71st birthday. She is interred in Glenwood Cemetery in Houston.

Certain documents of Tierney's film-related material, personal papers, letters, etc., are held in the Wesleyan University Cinema Archives, though her papers are closed to the public.

#gene tierney #golden age of hollywood #classic hollywood #old hollywood #classic movie stars

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josy72 · 5 years

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💯🙌🏻💯

How the women of ‘Portrait of a Lady on Fire’ put a new spin on sex and smiling in French cinema

A period movie so alive with ideas and emotions it feels like it is taking place in the present tense, “Portrait of a Lady On Fire” has been igniting viewers around the world for the better part of a year.

Written and directed by Céline Sciamma, the film won the screenplay prize and the Queer Palm award when it premiered at the Cannes Film Festival last summer, and has since been nominated for 10 César awards, a Golden Globe, a BAFTA and a Spirit Award and picked up numerous critics prizes, including recognition for cinematographer Claire Mathon.

Set in late 1700s-Brittany, “Portrait” follows a young female artist, Marianne (Noémie Merlant), hired to paint a portrait of Héloïse (Adèle Haenel), recently out of a convent and expected to marry a man she has never met. The job is harder than it sounds: Marianne is told to paint the headstrong Héloïse without her knowing, as she already refused to sit for another painter. Spending time together at a remote chateau near the seaside, the two women form a fast, intense bond and begin to fall in love.

The film is a spellbinding romance but also has a lot more on its mind. Notions of art and representation, who gets to tell stories and what stories get told, becomes a vital part of the narrative. After Marianne and Héloïse help a servant girl named Sophie (Luàna Bajrami) get an abortion, Héloïse insists that Marianne paint a depiction of the event.

After a brief qualifying run at the end of last year, “Portrait” was moved to begin its nationwide platform release on Valentine’s Day, taking it out of the crush of year-end awards titles and into a position that capitalized on its deeply felt romance. “Portrait of a Lady on Fire” is now truly a film for lovers.

Noémie Merlant, left, and Adèle Haenel in a scene from “Portrait of a Lady on Fire.”

(Neon)

By now, Sciamma has already promoted “Portrait” through numerous international releases and estimates she has done more than 350 interviews on behalf of the film.

“The box office, it really matters for me,” she said. “I want the film to be seen in theaters by people. So the fact that there’s this alternative strategy with the release in February, departing from the awards season, it’s fine because the most important thing for me is that people see it.”

The movie is being released by Neon, the savvy distributor behind Bong Joon Ho’s best picture winner “Parasite.” On Oscars night Sciamma was seen congratulating Bong at an after-party and Bong then returned the favor by acknowledging the success of “Portrait” in South Korea during a speech at a late-night after-after party at a restaurant in Koreatown.

Indeed, “Portrait” has emerged as the biggest international success yet for Sciamma, a leading light of contemporary French cinema whose credits include 2011’s “Tomboy,” 2014’s “Girlhood” and the screenplay for 2016’s Oscar-nominated animated feature “My Life as a Zucchini.”

Haenel previously worked with Sciamma on the director’s 2007 debut “Water Lilies” and has gone on to be among France’s most celebrated young actresses and a two-time César award winner. The pair were in a romantic relationship for a number of years after “Water Lilies” but had publicly split before starting work on “Portrait.”

In person they retain an intense, palpable bond, which was on display when they sat for an interview at the Toronto International Film Festival last fall. Into that dynamic stepped Merlant, and together the three women project an electric intelligence, playful wit and strong, thoughtful perspectives.

Adèle Haenel in a scene from “A Portrait of a Lady on Fire.”

(Neon)

Merlant admits she had some trepidation about stepping into the strong connection between Sciamma and Haenel, but she was immediately welcomed in during an audition.

“As soon as I met them, I understood straight away that it will not be [closed off], it will be a circle,” said Merlant. “They’re really open and focused on building a nice environment for collaborators, for artists, for women, but not just between the three of us. It’s the same with all the team — it’s really free between everybody.”

Turning to the themes of the film, Sciamma notes that the way in which “Portrait” becomes a meta examination of who looks and what is looked at in the depiction of history was very intentional.

“There’s a novelist in France named Annie Ernaux ... [who] said there’s no museum in the world with the portrait called ‘The Abortion,’” said Sciamma. “And that’s what is missing from art history, of course, but from our history too, if and when women are not in charge of representation. So it’s an image that is taboo. It shouldn’t be, and that’s why I wanted to represent it and represent the fact that it can be represented.

“It’s a matter of representation politics of the film, but it’s also really entertaining, I think,” Sciamma said. “To me those things are always linked. In the film the fact that there’s all these layers that we are playing with — it was part of the project and the joy of making it. Even on the set, we were well aware I’m an artist looking at models and the models are actually looking at the artists.”

Sciamma’s film has a passionate intensity, a feeling of being turned on, that makes it sensual, romantic and sexy even while it is not particularly explicit. What at first seems to be a startlingly graphic shot turns out to be something else, a visual joke that captures the wit and subversive sensibility of the film.

“I think that ideas and humor are the sexiest thing,” said Haenel.

“And the fact that you can imagine,” added Merlant, “if you don’t really see everything, then you can dream even more about it.”

“We have to find new ways to represent sex,” said Sciamma. “I’ve not been excited erotically by a French film for very, very long time. Sometimes it happens, but it’s always the same images. Some people don’t see sex in the film, and that’s too bad. Especially in cinema, it’s about the tension. A slow burn is about something growing and delay and frustration. To me, that’s how fiction represents the eroticism.

“And another thing also — consent is so sexy. We have to represent the sexiness of consent,” added Sciamma. “They always ask, even when she’s painting, ‘Can I touch you?’ And I think this is super-sexy to say, ‘Can I kiss you?’ And the movie’s all about the sexiness of consent. And I find it super-hot.”

As much as an audience might want to see Heloise and Marianne giving in to their desire for each other sooner, there are other ideas at work.

“It’s also a lot about resisting. For instance, they don’t smile at each other for 70 minutes,” Sciamma said. “I’m sick of women always smiling on screen. I want them to be accurate, concentrating. Even as I want the smile to happen.”

Haenel compared the behavior of Héloïse toward Mariane to a small cat, both playful and withholding. But there is also something more meaningful to her seeming diffidence.

“If you smile immediately it’s like you are OK to be an object,” said Haenel. “All the time, as a woman you’re supposed to be nice. Like, ‘Look at me, I’m a nice chair’ or whatever, I’m smiling and not dangerous. And we wanted to portray a different way to be — to seduce a person, not pretending you are an object but really defending the fact that you are the subject. And this is why also it’s important not to smile all the time.”

Adèle Haenel, left, and Noémie Merlant in a scene from “Portrait of a Lady on Fire.”

(Neon)

For a number of years, Sciamma has been deeply involved with the movement known as 50/50 by 2020, which has been pushing for gender parity within the French film industry and international film festivals. And her activism off the set has fed back into her work on-set.

“My life has an impact on my films. For instance, this sorority that I’m feeling and living for the past two years actually gives me a strength, a joy,” she said. “And I think I’m better at portraying it because I’m living it more fully.

“All the feelings that you have, that you experience when you’re active politically, these are very strong emotions. It’s not only about ideas, it’s also a way of life. And all that goes in the film. And also because you feel less lonely, so you feel more brave.”

Sciamma’s creative bravery with “Portrait of a Lady on Fire” has already connected with viewers in some unusual ways. In the film, a secret message is shared between Marianne and Héloïse on Page 28 of a book, and the idea of “p.28” has become a romantic totem for audiences. Sciamma has even heard of multiple people getting it tattooed on their bodies.

“I’m so proud of that. I think I won best screenplay in Cannes for just ‘page 28,’” she said. “I’m sure that page is going to become the page of a lot of books and a lot of hidden secrets between people. And I liked the fact that movies can make a community of their secret language and then people are part of the language of the film.

“That’s why I do cinema. I do cinema to create, so that the film creates its own language. And that’s why also it’s slow, so that you learn the language. And that your emotion comes not only from the story, but from the fact that you speak that language too.

“That’s my strongest emotions in cinema,” Sciamma said. “I begin to speak the language of the film and I feel like I belong in here.”

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claudia1829things · 4 years

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“BECKY SHARP” (1935) Review

"BECKY SHARP" (1935) Review

Being something of a film history buff, I have been aware of the 1935 adaptation of William Makepeace Thackeray's 1847-48 novel, "Vanity Fair" for a number of years. But I have never been inclined to watch the film, until recently.

I cannot say what led to my recent interest in "BECKY SHARP". But it was a book on David O. Selznick that made me first aware of the 1935 film. John Hay "Jock" Whitney and Cornelius Vanderbilt Whitney had founded Pioneer Pictures in 1933 as a means to produce color movies. "Jock" Whitney was close friends with Selznick. He even co-financed Selznick's production company, Selznick International, in 1935. Between the creations of Pioneer Pictures and Selznick International, the former released the first feature-length film to use the three-strip Technicolor process. "BECKY SHARP" is the sixth of eleven film and/or television adaptations of the Thackeray's novel. It is the first in color. "BECKY SHARP" took its title from the novel's main character, a poor, but educated young English lady who struggles rise in the ranks of Britain's social classes during the early years of the 19th century. Becky Sharp is the orphaned daughter of an English painter and French dancer, who graduates from Miss Pinkerton's Academy for Young Ladies with a friend named Amelia Sedley. Since Amelia is the daughter of a wealthy merchant, Becky manipulates her way into her friend's household, where she meets Amelia's portly and jovial brother, Joseph "Jos" Sedley. Before Becky can sink her hooks into Jos, the Sedley patriarch put an end to the budding "romance" by sending Jos away to India. Meanwhile, Becky finds employment as a governess at the estate of Sir Pitt Crawley. She eventually wins the heart and hand of Crawley's playboy son Rawdon, an officer in the British army. When news of Napoleon Bonaparte's escape from Elba reach Britain, Becky is reunited with Amelia, who has now married her childhood sweetheart George Osborne. The two women's husbands and William Dobbin are deployed to Belgium to face Napoleon's Army. But the last stages of the Napoleonic Wars proved to be the first of many crisis thrown Becky's way. Judging from the movie's title, it is clear to me that screenwriter Francis Edward Faragoh had deleted a great deal of Thackeray's novel in order to write a screenplay with a running time of eighty-four minutes. I found it odd that a film adaptation of such a famous epic novel would have such a short running time. Other epics and movie adaptations of literary works had running times that sometimes went past two hours - including "A TALE OF TWO CITIES", "MUTINY ON THE BOUNTY", "THE CRUSADES", and "CAPTAIN BLOOD". I can only assume that a minor and newly formed production company like Pioneer Pictures could not afford to produce the first Technicolor feature film with a running time close to or over two hours. If that was the case . . . if the Whitneys were that determined to produce the first full-featured movie in color . . . they could have chosen something that was not an adaptation of a famous epic novel. I find it ironic that Mina Nair's 2004 adaptation of Thackeray's novel had received a great deal of criticism for not being truly faithful to its source. I have encountered less criticism of "BECKY SHARP" than I did for the 2004 film. Yet, the latter is more faithful than the former. One of my problems with "BECKY SHARP" is that I thought the producers, director Rouben Mamoulian and screenwriter Francis Edward Faragoh did a piss poor job of adapting Thackery's novel to the screen. I just learned that the 1935 movie is actually an adaptation of Langdon Elwyn Mitchell's 1899 play, which was an adaptation of the 1847-48 novel. I hate to say this, but the movie's running time of eighty-four (84) minutes did not serve the story. There is so much in "BECKY SHARP" that was left out. Most of the narrative that focused upon Amelia was deleted, especially her fractious relationship with her father-in-law, Mr. Osborne. In fact, George's father never made an appearance in this film. I suspect the same could be said about Mitchell's play. The only time the movie focused upon Amelia's character arc was when Becky was personally involved . . . namely George's infatuation with Becky before the Waterloo battle and Becky forcing Amelia to face the truth about George in the movie's last fifteen to twenty minutes. It is not surprising that the movie's title was based upon the main character's name. Not only was much of Amelia's personal story deleted, the movie also rushed through Becky's stay with the Sedley and Crawley families. It seemed as if Mamoulian and Faragoh could not wait to focus on the impact of Waterloo and the marriage between Becky and Rawdon. Between the handling of Amelia's character arc and the rushed narrative in the movie's first half, it is no wonder that I found "BECKY SHARP" particularly unsatisfying. I found other aspects of "BECKY SHARP" unsatisfying. The sound and visual quality of the movie's DVD version low in quality. The photography and color struck me as faded. And the sound is scratchy. For once, I am not blaming the movie's filmmakers. Whoever had possession of "BECKY SHARP" after Pioneer Pictures had failed to maintain its original quality. But I can blame the filmmakers on other aspects of the movie. In it, the Jos Sedley character returned to Europe with a little Indian boy in tow as his personal servant. Only the "Indian servant" was portrayed by a young African-American actor named Jimmy Robinson. To this day, I am still trying to figure out how the producers and director Rouben Mamoulian saw nothing wrong in an African-American kid portraying an Indian kid. Hollywood's casting for non-white characters seemed really skewed in this film. And then . . . there was the acting. I am surprised that "BECKY SHARP" led to a Best Actress Oscar nomination for actress Miriam Hopkins. Granted, she handled the character's questionable morality, desperation and charm very well. Yet, Hopkins engaged in so much hammy acting that I found myself wondering why of all her performances, she ended up earning a nomination for this particular one. I wish I could say that the rest of the cast gave better performances . . . but I cannot. Other cast members gave equally hammy performances. Nigel Bruce, Alan Mowbray, Alison Skipworth, G.P. Huntley and many others were equally hammy. I could not accuse Colin Tapley of hamminess on the same scale. But I found his portrayal of William Dobbin rather dramatic. And I am not being complimentary. The only cast members who actually impressed me were Frances Dee and Cedric Hardwicke. Dee gave a surprisingly subtle and convincing performance as the sweet and passive Amelia Sedley. Thanks to Dee's performances, audiences saw both the positive and negative aspects of Amelia's passiveness. Hardwicke was equally subtle as Becky's aristocratic "benefactor", the Marquis of Steyne. Even though Steyne is an unlikable character, Hardwicke was no mustache-twirling villain. The only reason I would recommend "BECKY SHARP" to anyone is for historical purposes. Because this is the first feature-length motion picture in color, I would recommend this movie to any film buff. Otherwise, I would stay clear of "BECKY SHARP" and consider other adaptations of William Makepeace Thackery's novel.

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camillemontespan · 5 years

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queer eye: the cordonian edition [episode 1: drake walker] [part one]

@jovialyouthmusic @fromthedeskofpaisleybleakmore @sirbeepsalot@moonlightgem7 @katedrakeohd @emceesynonymroll @notoriouscs @dcbbw@drakesensworld @carabeth @be-still-my-aching-heart @andy-loves-corgis@mariahschoices @thequeenofcronuts @drakewalkerisreal @nikkis1983@simsvetements @alesana45 @iplaydrake @drakewalkerwhipped@drakxwalker @drakewalkerrosenberg @drakeswalkers @drakelover78@silviasutton1989 @furiousherringoperatortoad @hollygirl1269 @ladyangel70 @i-bloody-love-drake-walker @burnsoslow

So, this is the beginning of @pug-bitch and I’s collaboration! We’ll be taking turns to pick a character from the TRR core group and getting them made over by the Fab Five.

I posted a teaser a month ago of this chapter but I’ve since written more. This will be split into 2/3 parts because it’s already so long.

We’ll be posting these whenever we have the time to, so don’t expect a weekly update as we have other series to work on. This is just a bit of fun and fluff, the idea came from @notoriouscs

If you don’t watch Queer Eye, you may not get this? Or you could just sit and watch one episode, get the gist of it then come back to read? Or you can just read this blind with no context. Up to you!

Now kweens, Queer Eye is taking Cordonia!

***************************************************************************************

Jonathan: GROOMING. Owner of luscious locks, self care advocate, is a Kelly Clarkson song.

Tan: FASHION. A style icon, inventor of the French tuck, lover of printed shirts.

Bobby: DESIGN. Unsung hero, man of few words and week-long renovation projects, lover of gray and blue hues.

Karamo: CULTURE. Beautifully manicured beard, inspirational angel, loves to get people to scream about their dreams as a self-confidence exercise.

Antoni: FOOD. Can only make grilled cheese or dips. Pretty to look at, cooking skills questionable. Owner of a million slogan tees and bandanas.

‘Oh my God, look at how blue the water is! I wanna go swimming!’ Jonathan shrieked, pointing out the window at the passing landscape. Bobby chuckled. ‘We can go swimming after we’ve sorted out our first case!’

Karamo, who was driving, cleared his throat. ‘Okay, so who are we dealing with?’

Antoni opened up his iPad and began to read from the screen. ‘So, his name is Drake Walker-’

‘Oh my God, I bet he’s a beefcake,’ Tan whispered.

‘Honey, let me be the judge of that!’ Jonathan joined in.

Antoni giggled then continued to read. ‘Yes, Drake Walker. 28 years old, from Austin, Texas, but has lived in Cordonia since he was five, 6 foot four-’

‘Definite beefcake,’ Tan and Karamo interrupted at the same time.

‘Guys, let me read!’ Antoni hollered. The group went quiet, clamping their lips together to stop them from laughing. The car continued to go past the blue ocean of Cordonia, the hot sun beating down on them.

‘Okay, so he is the King’s best friend. Drake’s favourite things are whiskey-’

Jonathan wrinkled his nose. ‘Eww.’

‘Smores and being outdoors,’ Antoni finished.

Jonathan broke into a grin. ‘Smores and being outdoors! Smores and being outdoors! Oh, it’s like a cute song for a commercial!’

Karamo got serious. ‘Who nominated him?’

Antoni’s eyes scanned the screen. ‘The King.'

‘THE KING?! 'the group screamed.

‘King Liam says Drake has gotten himself into a rut. Drake is not the most social guy, he hates etiquette and isn’t comfortable at palace balls.’

‘Riiiight, and you say he is best friends with the king?’ Bobby asked, frowning. ‘That doesn’t make any sense.’

Jonathan sighed. ‘We’ll unpack that later.’

‘Liam says Drake always wears the same thing so Tan, you might have your work cut out for you,’ Antoni continued, ‘and he doesn’t really get along with the nobles. But, there’s a big ball coming up in which the king is meeting potential suitors and Drake has to be there. It’s a big deal, this will make international news because it’s such an archaic way of finding a wife. As his best friend, Liam wants Drake to feel confident, self assured and actually rock a suit. Oh my God, he hates suits.’

‘This guy is definitely in the wrong environment..’ Bobby said quietly.

Tan cleared his throat. ‘Um, what does he wear usually?’

Antoni turned to stare at him. ‘Denim shirts.’

Tan turned pale.

**************************************************************

The car pulled up outside the palace where Drake stayed.

‘Oh my GOD!’ the Fab Five screamed, staring up at the building.

They bolted out of the car, the cameras following them and they ran up the stairs.

‘Wait!’ Tan shouted. ‘I need a picture by the fountain!’

He ran down the stairs towards the fountain situated in the centre of the courtyard and stood in front of it. Bobby took out his phone and snapped a photo; Jonathan ran down the stairs and joined Tan, cocking his hip and posing.

‘I feel so regal right now,’ Jonathan drawled, flicking his long hair. Tan cackled.

‘Guys, come on, we need to meet Drake!’ Karamo shouted.

The Fab Five entered the palace and collective screaming continued. Courtiers turned to stare, looking very confused. ‘Look at all of the marble!’ Antoni cried, running a hand down a column.

The cameras scanned the foyer until they stopped to film a tall man dressed in military regalia striding towards them. ‘Oh my God, that’s the King,’ Tan whispered. The Fab Five went silent.

King Liam grinned and held out a hand to each of them. ‘Welcome to Cordonia!’

The Fab Five nodded mutely, their eyes wide.

‘Have I rendered you speechless?’ Liam joked, raising an eyebrow. Jonathan’s mouth dropped open before he finally spoke. ‘Oh, you can render me speechless any day..’

Liam burst out laughing. ‘Jonathan, I knew you were my favourite.’

‘What?!’ the others shrieked. ‘How?!’

Jonathan giggled and confidently hooked his arm around the King’s. ‘Your Majesty, please take us to our new project!’

He began to skip while still holding onto Liam’s arm. Jonathan tried his best royal wave to the courtiers as they went.

************************************************************************

Liam stopped outside a room and knocked on the door. ‘Hmm, it’s 12pm, he might not be up yet..’ he said. They waited until the Fab Five got impatient and began to bang their fists on the door. ‘Drakeyyyyy!’ they trilled.

The door was flung open and the camera zoomed in to show a tall, broad shouldered man with a pissed off expression on his face. He was dressed in a white t-shirt and blue pyjama bottoms. His dark hair was dishevelled and he was bleary eyed. ‘Wha?’

‘Oh my God, you are a beefcake!’ Tan cried, clapping his hands. Drake blinked, rubbing his eyes. ‘Uh.. Liam?’

Liam sniggered. ‘I nominated you.’

‘Nominated me? What do you mean nominated - oh no. Oh god no. The show you watch in your downtime. Oh no..’

‘Yup, that’s us!’ Bobby grinned. ‘Now let us in!’

The group pushed past Drake. Drake shot a look of contempt to Liam, who shrugged, clearly enjoying this. Liam followed Drake into the room where the Fab Five were running around.

‘This room is massive! Look at the balcony!’ Tan said. ‘Bobby, you’re going to love doing this up.’

Bobby looked like a child on Christmas Day. His eyes scanned the room, which was huge and sparsely decorated, with hardly any pictures or trinkets, until he stopped, focusing on the bottles of whiskey dotting the bedside table. ‘Oh. Lots of whiskey..’ he muttered.

Karamo looked at the whiskey bottles and bit his lip.

Tan opened up the wardrobe. Drake darted towards him, alarmed. ‘What the hell? Dude, who gave you permission to go through my clothes?’

Tan stared at him. ‘Have you ever watched the show?’

‘No..’ Drake mumbled. ‘Is that what you do?’

Tan placed his hands on Drake’s shoulders. ‘Drake, your life is going to be examined for the next five days. Your wardrobe, your eating habits, your room, everything. I’m going through your wardrobe and sorting out what needs binned, what needs kept and just making you look... more presentable.’

Drake swallowed and watched as Tan rifled through the wardrobe. ‘You have so much denim..’ Tan observed.

‘I like denim,’ Drake said defensively.

Tan raised his hands up. ‘Sure. So did Britney and Justin at the AMAs. Ugh, matching. Tell me, do you want to be like Britney and Justin?’

Drake stared at him. ‘I have no idea what you’re talking about.’

******************************************************************************

Jonathan went into Drake’s en-suite and looked through the products, which was very minimal. ‘He only has a razor. There’s no moisturiser, no facial wash, nada,’ Jonathan told the camera. ‘What does he wash his face with?’

He rooted through the cupboard. ‘Ah, found them. Face wipes. Oh honey, no.’

Drake came in, clearly uncomfortable with strangers in his space looking through his things. ‘Um, why are you in my bathroom?’

Jonathan grinned at him. ‘I am in charge of grooming, I’m responsible for everything you see here,’ he explained, pointing to his own face. ‘Now, I see you use face wipes.’

‘Yeah, I like to take care of my skin.’

Jonathan blinked. There was a long awkward silence. The special effect of crickets would have to be added later.

‘Drake,’ Jonathan said seriously, ‘face wipes are evil. They pretend to be good for skin but honestly, they don’t help anything! These are banned.’

‘Then what do I wash my face with?!’

‘A cleanser and toner!’

‘Toner?’

‘Yeah, toner.’

There was another silence. Drake cleared his throat. ‘What’s toner?’

Jonathan dropped the packet of face wipes into the bin. ‘I’m going to pretend you didn’t just ask me that.’

*************************************************************************************

Tan sat in front of the camera and ran a hand through his salt and pepper quiff. He shot a winning smile at the camera. ‘So, my goal for this week is to just introduce Drake to new things. Less denim, more prints, more colour. Denim is only meant for jeans and after taking everything out of his closet, he only owns denim. The guy has no sense of fashion and that’s absolutely okay, I just want him to start making an effort. I want him to enjoy getting dressed in the morning and to feel confident in what he’s wearing.’

Jonathan was interviewed next. ‘He is so handsome, he doesn’t really need a makeover as such..’ he mused. ‘But he doesn’t know about how to look after his skin. He doesn’t have a routine, he doesn’t know what toner is, he uses face wipes. I’m going to teach him how to look after his skin and also introduce him to the concept of self care. He’s going to be such a marshmallow by the time I’m finished with him!’

He jumped off the seat and banged his hip against Antoni’s. Antoni sat down on the chair and faced the camera. ‘We’re yet to see what Drake likes to eat considering meals at court are prepared by servants.. so my role might be quite useless...’ He trailed off, looking into the distance with a lost expression on his face. ‘Maybe I can teach him how to make grilled cheese..’

Bobby replaced a dejected Antoni. ‘The bare bones of his room is amazing. SO big with a balcony overlooking Cordonia. It’s basically a real babe magnet but he hasn’t done anything to do it. No pictures, no books, nothing. It’s not the kind of room you would expect to be in a palace, so I kinda want to find out what Drake likes and make his room his own space to recharge from courtly life.’

Karamo sat down. ‘He had so many whiskey bottles littered around the room, it was actually quite alarming. I want to just get to know the guy, work out why he is the king’s best friend but hates court. It doesn’t make sense to me. I want to open up Drake Walker!’

*******************************************************************************************

Day 1: Denim Disaster

Tan lead Drake over to the wardrobe and opened the doors. 'Okay! Tell me. Why the weird obsession with denim?'

Drake shuffled on his feet awkwardly. 'I dunno.. I like blue.'

Tan smiled. 'Blue is a nice colour and we can certainly incorporate more blue into your closet, but we need to ditch a lot of the denim.'

'But why? Denim is a nice material,' Drake said quietly.

Tan studied him for a moment then took out his phone. His slim fingers tapped the screen before showing a picture. He held the phone out to Drake, who frowned.

'This denim disaster you see there, although an iconic pop culture moment from 2001, is something that cannot be repeated. This is Britney Spears and Justin Timberlake. Have you heard of them?'

Drake glared at him. 'I'm not a total recluse. I had a Britney poster in my room growing up.'

Tan laughed. 'Really?!'

Drake blushed. 'She was a babe back in the day..'

Tan giggled then cleared his throat seriously. 'Drake, I'm showing you this because double denim is not a good look. This denim look you see on Britney and Justin got attention for all the wrong reasons. Do you think this is a good look?'

'Hell no!'

'Then Drake, why are you yourself wearing double denim?!' Tan cried. Drake's eyes widened. 'Oh god. Do I look like that?!'

*******************************************************************************************

Drake and Tan entered a men's clothing store with the cameras following. Rails of clothing, from leather jackets to beautiful printed shirts, greeted them. Tan looked at Drake and knew instantly that Drake felt out his depth. 'So, you like blue,' Tan started. 'I suggest we use that as our base colour and go from there.'

Drake nodded and Tan guided him over to a rail of shirts. 'Now, everyone knows I adore a printed shirt,' Tan admitted, picking up a blue shirt with printed zebras.

Drake jumped back. ‘What the actual FUCK is that?’

Tan stared at him, the offending shirt in his hand. He whistled. ‘Wow, no crazy prints for you then..’

Drake shuddered. ‘It looks like something Maxwell would wear.’

‘Okay, so no crazy prints. Noted.’

Tan began to sort through clothes. 'I actually want to guide you away from these prints at the moment and just look at this Henley shirt.'

He held up a dark blue Henley shirt. 'This is casual, so easy to wear and hey, isn't denim. And, bonus - it’s blue.'

Drake took it and watched as Tan fluttered around the store. He picked up a battered brown leather jacket. Drake wandered over. 'Can I see that?'

'Yes!' Tan squealed. 'Oh my god, you're getting into this!'

Drake reddened. Tan quickly began to pick up various shirts, jeans and boots. His arms were laden down - Drake reached out to take half of the pile, ever the gent.

'Now, you're a courtier which means you need a suit,' Tan said. Drake's face turned to stone.

'I'm not wearing a suit.'

Tan stopped. 'I know suits can be intimidating -'

'Forget it, Tan,' Drake told him sharply. 'I'm not turning into one of them.'

Tan moved closer to Drake. 'Turning into who?' he asked softly. Drake looked away, his jaw set. 'Drake?' Tan tried again.

Drake sighed. 'I don't want to be like the nobles at court. All they wear are suits and crow about their status and wealth. If I wear a suit then I'm joining them. I'm no better.'

His voice sounded so bitter. Tan bit his lip. 'Why do you dislike them so much? Is it because they brag?'

Drake smirked. 'That amongst other things.'

Tan wanted to ask more but from the look on Drake’s face, he knew not to pursue it. Instead, he fixed a bright smile on his face. ‘Right, let’s get you trying on clothes!’ he led Drake to the dressing room. He handed him the blue henley shirt, jeans, jacket and boots.

Drake came out a few minutes later, a reluctant model. He looked a little embarrassed. Tan clapped his hand to his mouth. ‘Well, you look like you just stepped off a men’s lifestyle magazine cover! Look at you!’

Drake blushed and looked at himself in the mirror. The shirt fitted him perfectly; the way it fit on his body showed off his broad chest. The jeans were a faded dark blue and on his feet were brown suede boots. The leather jacket was slung on top, completing the look. Drake looked like a rockstar. Tan resisted the urge to jump on him.

‘How do you feel?’ he asked.

Drake chuckled. ‘Pretty good, actually.’

‘Give me a twirl!’

Drake shot Tan a withering look but twirled around slowly. Tan jumped up and down with glee. ‘You are serving me off duty model in New York, on his way to a secret underground gig and has a model girlfriend called Ianthe.’

‘Ianthe?’ Drake wrinkled his nose. Tan nodded. ‘She’s blonde,’ he said, hit by inspiration. ‘Sweet girl, dirty sense of humour.’

Drake laughed. ‘I can be down with that.’

Drake studied himself in the mirror and drew himself up, puffing out his chest. ‘I actually really like this. It’s... different but not too drastic.’

‘See, I can be nice!’ Tan joked. He watched as Drake smiled shyly in the mirror.

*******************************************************************************************

The cameras filmed the Fab Five as they settled down on the sofa with cups of coffee to discuss their project. ‘How did shopping go?’ Karamo asked Tan. Tan grinned. ‘Good, for the most part! He loved the outfit I put together for him but he didn’t want to try on suits.’

Karamo shrugged. ‘Many of our projects before haven’t wanted to.’

‘Yeah, like they freak out!’ Bobby said. ‘Like they seem to have this, ‘I’m a rough around the edges guy, I don’t need a suit,’ kind of mentality.’

Tan shook his head. ‘This was different.. like he seemed so adamant, like the suit was poison. He said he didn’t want to turn into the nobles at court.’

‘I wonder why?’ Karamo said quietly, thinking. His mind was working overtime. It didn’t make sense to him that the king’s best friend lived in the palace but was so against the people he saw everyday.

‘I’ll talk to him,’ Karamo decided.

*******************************************************************************************

Day 2: Self Care is not Girly

Drake watched as Jonathan began to place beauty products on the table in front of him. ‘What’s all this?’ he asked. Jonathan turned to him and gave a him a wink. ‘We are having a self care session!’

Drake groaned. ‘Oh god, self care. It’s all I hear about from Liam after he started watching your show.’

‘Liam is right to talk about self care, he’s a clever cookie,’ Jonathan said briskly. ‘Now sit down.’

Drake settled down on the chair, rigid. He eyed the lotions and potions with dread in his eyes. ‘Um.. isn’t this stuff kinda.. girly?’

Jonathan sat down opposite Drake and looked him dead in the eyes. ‘No. This is one reason why men need to start just owning this sort of thing. It’s okay to take time out for yourself. It’s not gay to own beauty products. It’s not gay to take fifteen minutes out of your day to just sit with cucumbers on your eyes. This is toxic masculinity at its peak and everyday I want to challenge that. Now, we’re going to put on face masks.’

Drake stood up quickly. ‘No, it’s okay.’

‘Drake,’ Jonathan said, ‘please. It’s a nice way to relax.’

‘But it’s girly.’

‘What have I just told you? It’s not a bad thing! Now, do you want to feel relaxed and content?’

‘Yeah but-’

‘Then sit your fine ass down and put an oat face mask on.’

Drake groaned but sat down. Jonathan grinned. ‘So, you can make these at home, which I do regularly, but today, I’ve just picked this up. This will exfoliate your skin and banish all the dead skin cells. You will feel like a god once we’re done here. Not that you’re not a god already, I mean, look at you.. but that’s BESIDES THE POINT.’

Drake blushed and watched as Jonathan picked up the tub that held the face mask. ‘Now, squeeze a tiny blob onto your hand and just apply to your face. Smooth it on, no rubbing.’

Drake winced but applied the face mask. ‘Oh, it feels weird..’ he murmured.

His face was now covered. ‘Uhh.. what now?’ he asked.

‘Now, we lie back and let the face mask work its magic.’

Drake settled back into the chair and closed his eyes. Jonathan closed his eyes too.

‘So, tell me about this ball the King is holding,’ Jonathan said casually.

‘Ugh, it’s just to find him a wife,’ Drake muttered. ‘It’s ridiculous.’

‘And it’s a competition?’

‘Yeah. He’s got all these duchesses coming round to try and win his heart. There’s events they have to compete it, it’s hard work. I wouldn’t want to be them.’

‘Why hasn’t Liam found anyone the normal way? You know, Tinder,’ Jonathan asked. Drake chuckled. ‘The king isn’t allowed to use tinder.’

‘That sucks. Do you use tinder?’

Drake smirked. ‘Not telling.’

‘Oh my God, you do!’ Jonathan squealed, his eyes shooting open. Drake kept his eyes shut but he was trying not to laugh.

‘Have you matched with anyone?!’ Jonathan shrieked. Drake mimed zipping his mouth closed.

‘At least tell me who your ideal girl is.’

Drake laughed nervously. ‘Um.. someone laidback? Who isn’t taken in by the trappings of court. Someone who likes a drink and is just fun to be around. Nothing too demanding.’

‘Who’s your celebrity crush?’ Jonathan asked.

‘Selma Hayek,’ he said immediately. Jonathan’s mouth dropped open. ‘She is a babe!’

They were quiet again until Jonathan, who hated silence, broke it.

‘Have you ever had a girlfriend?’

‘Nah, man,’ Drake told him. ‘I’ve had girls yeah.. but not girlfriends.’

‘You can’t be tamed!’ Jonathan joked. ‘Oh honey, I just want to tame you right now.’

Drake’s body shook as he laughed. ‘Calm down, Jonathan.’

They sat in silence for a few more minutes. ‘Right, time to wash off the face mask!’ Jonathan announced.

They went into the bathroom and Drake washed his face. When he looked up in the mirror, his eyes widened. ‘I look.. fresh.’

‘Yes you do, honey!’ Jonathan said. ‘You look fresh as a daisy. Now, you are only to do that once a week. Any more and your skin was start to get aggravated as this is a scrub. Now, cleansing. You’ll notice I threw out your face wipes.’

‘I did, yes. Didn’t appreciate that,’ Drake said dryly.

‘Don’t give me backchat,’ Jonathan scolded him. ‘Here you have your new cleanser. It’s free from animal testing, it’s good for even sensitive skin and it will just keep your skin looking and feeling good. Next, toner.’

‘This is a long routine,’ Drake observed.

‘Beauty takes a village!’ Jonathan replied. ‘After your toner, you then apply your moisturiser. This will lock in moisture, obviously, and keep skin hydrated. No more dry patches. Plus, it smells gorge!’

Drake sniffed the moisturiser. ‘Ooh, it does!’

‘Right?! So, face wash, toner, moisturiser twice a day, every day. Face mask, once a week. Got it?’

‘Got it.’

‘Amazing. Oh honey, you’ve done so good today!’ Jonathan pulled him into a hug. Drake stiffened at first but then relaxed, patting him on the back.

*******************************************************************************************

Day 3: Babe Magnet

Bobby and Drake were in a home store. ‘So, tell me what kind of decor you like. As in, do you like wallpaper? Cushions? Tell me your thing,’ Bobby started.

Drake shrugged. ‘I don’t really know..’

‘Okay, what colours do you like?’

‘Hmm. Blue. Green. Sort of nature colours, I guess.’

Bobby grinned. ‘That’s great! Okay, so we can use those. For rooms, it’s always good to have three colours. One is your main base, the second is the compliment colour, and the third is for accents. How about we use blue as the base? So, blue walls?’

‘I like blue walls,’ Drake said simply.

‘Cool. Green as a secondary colour, I think too. Like, a dark green duvet?’

Drake nodded. ‘Sure, sounds good.’

‘Now, accent colours. I’ll show you this mood board here of different colours and fabrics. Show me what you are drawn to as an accent.’

Drake studied the mood board Bobby held out. He touched the silk, the satin, the cotton and looked through the colour spectrum, his eyes narrowed in concentration.

‘I quite like the rusty orange..’ he said. ‘Is that weird?’

‘Not at all!’ Bobby said. ‘Nice choice, you have a good eye.’

‘What are accent colours?’ Drake asked quietly, as if it was a stupid question. Bobby did not think it was a stupid question at all.

Bobby guided him over to an aisle full of cushions. ‘Cushions, blankets, lampshades. These can all be accents, they are the little pieces in your space that add some personality and fun. You can play around with a pop of colour.’

They began to look at cushions and rugs. Drake’s eye roamed the store and fell upon a copper drinks cart. ‘Ooh.’

Bobby followed his eye line. The bottles of whiskey in Drake’s room instantly sprang to mind and he felt a flash of panic. He hadn’t been advised on how to deal with this. Clearly, the guy had a drink problem. Buying a drinks cart would only be encouraging it. Where was Karamo for advice when he needed him?

‘Oooh, shelves! Drake, let’s look at shelves!’ he cried, distracting him. Drake followed him to the shelving section.

‘I like the driftwood,’ Drake volunteered.

‘You’re so outdoorsy, aren’t you?’ Bobby asked. Drake blushed.

‘Honestly, I am too,’ Bobby continued. ‘I love being outside, working with my hands. Driftwood is a nice touch, it adds some interest to the room and is a nice feature. You sure you haven’t looked at interior design before?’

Drake blushed. ‘Pretty sure.’

Bobby raised an eyebrow. ‘Okay, cool. Now, the balcony. Let me talk about the balcony. How often do you use it?’

'Whenever it gets a bit much in court, I use it.’

Bobby smiled softly. ‘Cool. I noticed it’s quite sparse so would you mind if I put in some plants, maybe some fairy lights and candles? It’s a babe magnet of a balcony, some girls like fairy lights and candles...’

‘Bit girly..’ Drake muttered.

‘We have got to erase the word from your vocab!’ Bobby scolded. ‘Jonathan was telling me you thought face masks were girly, which they’re not. Neither are fairy lights and candles. Drake, it’s okay to have feminine things in a masculine space; to be honest, it’s refreshing.’

‘Fine, okay, I’ll have fairy lights,’ Drake sighed.

Bobby stared at him, his gaze steady. ‘Sit on that sofa,’ he said, gesturing to a leather sofa behind him. Drake sat down, his face red from embarrassment. Bobby settled down beside him and faced him.

‘Okay. Usually, this is Karamo’s area but right now, we are in the middle of trying to kit out your bedroom to be a nice, relaxing space and I’m sorry but toxic masculinity is not the vibe I want in that room, okay?’

Drake nodded mutely. He looked like a child being told off. Bobby continued with the tough love nonetheless.

‘I imagine you’re quite socially awkward?’

‘What gives you that impression?’ Drake muttered, picking at his fingernails.

‘Everything about you,’ Bobby said bluntly. ‘You’re at court and you’re the king’s best friend but from what I’ve heard, you hate that environment. So, I guess your room is your escape. But, the room you have is bare and there is not one hint of Drake Walker in it. I want to make that room yours. I want it to be your own space where you feel relaxed and can just be yourself, no airs or graces, just you. I’m not trying to change you, I promise. I just want you to be open to more ideas, challenge yourself. You might find some stuff that you like.’

Drake was silent for a moment and studied the floor. He looked up at Bobby with decision in his eyes. ‘Okay, you’re right. I’m sorry. I don’t mean to shoot down your ideas, you are the expert and clearly, I need some professional help. I’ll smell all the candles you want and stock up on tons of cushions, whatever. You’re here for a reason, I’ve got to just accept that.’

Bobby smiled wobbily, his eyes threatening to fill with tears. ‘Thank you, Drake.’

Drake shrugged but offer a small smile. The tension was released.

‘By the way, not all candles smell ‘girly’, to quote your favourite word,’ Bobby explained. ‘You can get some that smell of leather, sandalwood.. want to try?’

Drake gave him an enthusiastic nod. ‘Sure, why not? Take me to the candles!’

#trr fanfic #drake walker #queer eye takes cordonia #the royal romance #trr #TRH

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anhed-nia · 5 years

Text

NOTTING HILL

I bet there's five or six of you still out there who are wondering why I haven't written almost all year, and whether I'm still gonna do Blogtober this year. Well, I YAM! In fact, you'll get a double dose of autumn bullshit from me, since I'll be traveling to Fantastic Fest this September to find out what the fuss is all about. (Actually I already know and I'm STOKED!) Meanwhile, to prove I am still alive and able to string a run-on sentence together, please "enjoy" my review of a TRUE horror film: Roger Mitchell's 1999 romantic-comic mega hit, NOTTING HILL.

Even if you know me pretty well, you might not know that I have a ritual of becoming very stoned and watching popular romantic comedies to try to figure out what regular jagoffs want, like how the other half lives. Sometimes it makes me feel like I'm observing evidence of an alien civilization, and sometimes I feel like I'm just watching the end of the world. I always try to stay open to the possibility that they might be better than I think they are, though, sort of the way I am strangely invested in whether there are truly good Christians out there and not just nominal celebrants who have a convenient justification for their bigotry...

Um where was I, anyway, with all that said: I am here to declare that NOTTING HILL is the stupidest fucking movie ever made by a human being. It is infinitely dumber than INVASION OF THE BLOOD FARMERS or BLOOD FREAK or COLOR ME BLOOD RED, or whatever other garbage I excuse as secret art (but it is!), and that's just in terms of internal logic--I'm not even getting into matters of taste. What happens in this movie is, Hugh Grant spills orange juice all over perfect stranger and famous actress Julia Roberts, she agrees to go inside his house to change her clothes, and then they just start frenching. There's so little reason for it that Julia Roberts has to say out loud that it doesn't make any sense, just to try to make it "make sense" for the audience. Straight away she invites herself to dinner with his family, which is mostly represented by a montage of people laughing for no reason so you can tell how charming they all are. (N.B. This exact scene happens in SANTA CLAUS CONQUERS THE MARTIANS) Then they just seem to be on this endless date, punctuated by nauseating adult contemporary ballads about epic romance, that finally ends when it is revealed that Julia Roberts already has a boyfriend. I had been waiting and waiting to figure out what the actual plot of this was, and it finally arrives A FULL HOUR INTO THE MOVIE.

Hugh Grant is let down, but for some reason not at all put off that his perfect female is a cheat and a liar. I guess this is because her boyfriend is a lout, as illustrated by Alec Baldwin in exactly one startlingly brief appearance, suggesting that the fact that he's rude and dumb means he deserves just whatever. Anyway, in not too long, Hugh Grant and Julia Roberts get back together because what else could happen--btw she will finally mention that she didn't know if she was still *In a Relationship* with Alec Baldwin at almost the end of the movie when it doesn't matter anymore. That plot point just goes away as soon as it arrives, and then the new plot is that potentially career-ruining old racy photos of Julia Roberts have emerged, the head-parts of which suggest to me that they are just stills from MYSTIC PIZZA. Then that plot point goes away. Then the new plot is that the paparazzi get pictures of Julia Roberts and Hugh Grant slouching around his apartment in lounge wear, and even though Hugh Grant's mystifyingly dirty, crazy, rape-y roommate is in the mix, the whole world decides that this means Julia Roberts is cheating on Alec Baldwin and she is ruined once again. But, some time elapses, and then Hugh Grant and Julia Roberts just get married and have a baby. THE END!

The excuses for humor in this movie are bizarrely infantile, and eerily similar to especially bad, needy Avengers fan posts on tumblr, with saucy little quips and jabs and flirts that turn into inconvenient boners for our chronically aroused and embarrassed hero. One example involves a long exchange about whether Julia Roberts would eat out Mel Gibson's asshole--sorry, his "bottom". Another involves Hugh Grant saying "whoopsie-daisies", which Julia Roberts charges is an antiquated term that makes him sound like an old man, totally ignoring the fact that a) it's a timeless term used only with babies, and b) IT'S FUCKING "WHOOPSIE DAISY", I GODDAMN GOOGLED IT.

The weirdest thing about this movie is that the director also made something called THE MOTHER, a sometimes unbearably intense drama about an elderly woman who gets horrifically exploited by her mentally ill adult daughter and the daughter's manipulative boyfriend. I guess NOTTING HILL is worth it if it means you can afford to make something actually good after.

Anyway, sorry about this long post about NOTTING HILL, which is probably not the kind of thing you're here for. But don't you dare suggest that I just "spoiled it" for you, I am PROTECTING YOU FROM IT.

PS The second weirdest thing about NOTTING HILL is the presence of Gina McKee, who looks so much like Hugh Grant that she might as well be a drag king of him--and even though a major character in this movie is supposed to be Hugh Grant's sister, they cast Gina McKee as his best friend. Go figure!!

#blogtober #hugh grant #julia roberts #roger mitchell #notting hill #romantic comedy

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devilkettle · 6 years

Text

Timothée’s “Quotidien” interview

Host: We loved him in CMBYN, he’s the youngest most talented actor, he’s coming back with Beautiful Boy, here’s the “beautiful boy”, here’s Timothée Chalamet!

The host asks if he’s doing the whole interview in French and Timmy says yes, they talk about the last time were Timmy had to translate for Armie

The host says Armie came for “On the basis of sex”, Timmy mocks Armie for doing the interview in English and says “He’s so American!”

*They show clip of Armie*, Timmy thanks him

Timmy says he’s thankful to be on the show, says he’s been in Paris since yesterday and leaves on Monday, he mentions the fashion show but just in passing.

Host: Since the last time you came, you’ve become an international celebrity, how did you live the success of CMBYN and your status of “best actor of his generation”?

Timmy: I don’t know man. I’m very grateful, I’ve always wanted to become an actor. So having the possibility of working often and pay my rent is good.

Host: But what about celebrity? I imagine things changed a lot in two years.

Timmy: Yes and no. At times I could feel it changing but at other times I feel *doesn’t finish his sentence*. I’ve been kicked out of a restaurant in LA last week. *Host asks why* It was members only and I didn’t know but yeah I really got kicked out.

Host: Didn’t you say “Hey but I’m Timothée Chalamet!”

Timmy: No but it’s nothing, it doesn’t mean anything.

Host: You stayed modest. Nobody told you “Hey, you’re becoming big headed”

Timmy: No, I have zero confidence, so no

Host: Today there are “chalamaniacs” who think you’re a work of art that should be in museums. Have you seen this? *Shows the @chalametinart insta account*

Timmy: Yes I have! *They show various examples*

Host: How do you feel about it?

Timmy: For me? It feels very weird! Have you ever been photoshopped in something?

Host: Yeah

Timmy: And what do you think?

Host: It’s pretty!

Timmy: Yeah, it’s pretty! Because you’re handsome!

*both laugh and it’s a true bisexual moment between them*

Host: So when you seen it you’re like, “ugh, it’s going too far!”?

Timmy: No because it’s weird and funny. If somebody told me that at 18-19 years old, I would have laughed and have been like “Yes!!”, because that’s what I wanted to do with my life and I hope I’ll do it for a long time.

Host: Your new movie is called Beautiful Boy etc.. promo stuff

Timmy: *he explains the movie, nothing new* He does say though that the Sheffs being privileged or not isn’t the point of the film.

Not quoting directly here because Timmy’s french is awful and he doesn’t really finish his sentences so he’s very hard to understand: He talks about the drug epidemic in the US and says there is no dialogue of “fixing it” yet. Drugs weren’t as powerful before. In the 60s drugs used to “open the imagination”, nowadays opiates “close the imagination”. 2019 is a weird time in the US and a little way to fix the problem would be to stop thinking it’s a moral failure. He says that he used to think these people partied too much but it’s not like that and it’s hard to get out of it.

Host: And Nic Sheff in the movie has every reason to be happy, that’s why his dad doesn’t understand.

Timmy: Yes, but for the dad there is also maybe an ego. What have I done wrong? What can I do to help my son? And that’s one of the lesson of the movie, once you’re in it it doesn’t matter how you got into it, you have to find a solution. You need the love from the people around you who support you, you have to protect yourself but also open your arms.

Host: The characters are real, they’re still alive.

Timmy: Yes, Nic is alive and has been sober of 8 years now *they show the picture of them at the premiere and Timmy explains who is who* In the movie there are 4 relapses but in real life there have been 13, and one was in the middle of the book release. Now he’s okay and I wish he was here today, because just him being there and being healthy is such an inspiration for addicts and shows that you can have a life after. You can be employed, you can earn money, you can have girlfriends and uh.. yeah!

*They show the trailer*

Host: The nominations for the Oscars are on Tuesday, right?

Timmy: It’s this week I think, yes.

Host: *crosses his fingers*

Host: About your character. A drug addict goes through a lot of phases: getting high, coming down (not sure if it’s how you translate this), the lack of drug (agin idk how to say this but I’m sure you understand the point), the shame, the anger, depression, tears, euphoria... What was the hardest to act?

Timmy: The fact that he’s a real person. Not a specific scene but just the fact that he’s a real man, and it’s their life, their family.

Host: But technically, how do you portray a drug addict? And all the emotions?

Timmy: Actually, that was the pressure as a 21 year old actor, “What do I have to learn?”, and that was the lesson with drugs and addiction. For me it wasn’t that I was going to play “an addict”, it was to play a human who is addicted to drugs. When I met Nic there was no aspect of his character, no sign, it was like he’s described in the book, he’s got a good sense of humour -

Host: Yes but when you met him he was sober.

Timmy: Yes he was, and that’s what he says in his own book, it’s like there are two different characters, the sober and the using. And that’s also the duality that the movie is about, a guy that is a good son, good brother, but can also rob, cheat and lie. It means we need to understand that humanity is complex. We aren’t complete as humans, we all have worts.

DISCLAIMER: Timmy is an absolute pain in the ass to translate because he talks very fast and not well in French + he doesn’t finish his sentences... so I did my best but it’s not perfect. Also if you’re reading this while watching the video and you see that there is something I didn’t translate, it’s because Timmy was just asking how to say a word in french to the host and it wasn’t important.

DISCLAIMER 2: Timmy stayed for the last part of the show and talked a little bit. Maybe I’ll translate it if needed, but I felt like his actual interview was more important :)

#Timothee Chalamet #Beautiful Boy

212 notes · View notes

shefanispeculator · 5 years

Link

Muller's first taste of professional film came working as a third assistant on the 1984 horror/thriller Company of Wolves. She then went on to work for International Film and Video, honoring her for her editing, producing, and directing skills.

Muller's goal was to become a successful director in her own right, and her big break came through a chance meeting with John Stewart (brother of Eurythmics' Dave Stewart) and Billy Poveda of Oil Factory, an established film production company.

She has directed over two hundred music videos and has been a longtime collaborator with Sophie Ellis-Bextor, No Doubt, Shakespears Sister, Garbage, Blur, Annie Lennox and Eurythmics. Her work with Annie Lennox won her a Grammy for the Diva video album. She also picked up an MTV Video Music Award for Lennox's 1992 hit "Why", and was also Grammy nominated for the Eurythmics' 1987 Savage video album. In total, Muller has directed over twenty videos for Lennox and Eurythmics and has a long time collaboration with producer Rob Small.

The video for "Stay" by Shakespears Sister in which she directed was spoofed by many British comedians at the time including French & Saunders and Mr. Blobby as well as winning the BRIT Award for Best Video and also The Music Week Award for Best Video at both of the ceremonies' 1993 Awards.

She has directed eleven videos for Sophie Ellis-Bextor including "Take Me Home", "Murder on the Dancefloor", "Catch You", two versions of "Music Gets the Best of Me" and "Love Is a Camera".

Muller has also directed nine videos for No Doubt as well as nine solo videos for Gwen Stefani. When No Doubt's "Don't Speak" won the award for Best Group Video at the 1997 MTV Video Music Awards, Stefani thanked her extensively, saying "I'd like to say that Sophie Muller is a genius." Stefani has also stated,

Sophie Muller is one of my most talented friends. She can and will only do projects that she is inspired by. She is driven by creativity and the love for what she does and as a result she never compromises. I consider her a true artist. I was a fan of Sophie's work before I even imagined working with her. She has a very pronounced style and taste that drew me in. I think she has the gift of being able to bring out the artist's personality, emotion and style. After working with her for the first time on our "Don't Speak" video, we became close friends [...]. On the set her direction is humble and simple, but she knows what she wants and knows when she gets it. A woman in charge in the male-dominated world of filmmaking makes the whole experience that much more exciting. [...] She has a way of making every cut have a reason and meaning. The videos have a life of their own and become better each time you watch them. I am always in shock the first time I see them and then after a few more times I am actually amazed. She has taught me a lot and I feel very lucky to have worked with her.[1]

The artwork for The Jesus and Mary Chain's 1994 album, Stoned & Dethroned, and the singles accompanying it, is composed entirely of stills from the video to the group's song "Sometimes Always", which was directed by Muller. She also directed the video for "Come On", which also appears on the album.

Muller states that her only ambition is to continue directing to her own high standards and to never grow bored. In 2004, she directed the socially aware video for Sarah McLachlan's "World on Fire",[2] where all but $15 of the entire $150,000 video budget was donated to charities. Recently, she has directed videos for Shakira, Mika, Kings of Leon, Brandon Flowers, Tom Odell and the critically acclaimed video for the Dixie Chicks, "Not Ready to Make Nice".

]

2010

Sade – "Soldier of Love"

Sade – "Babyfather"

Armin van Buuren vs. Sophie Ellis-Bextor – "Not Giving Up on Love"

Cheryl Cole – "Promise This"

Cheryl Cole – "The Flood"

Brandon Flowers – "Only The Young"

Kings of Leon – "Radioactive"

2011

The Kills – "Satellite"

Ellie Goulding – "Lights"

Noah and the Whale – "L.I.F.E.G.O.E.S.O.N."

Birdy – "Skinny Love"

Sade – "Love Is Found"

2012

Alicia Keys – "Girl on Fire"

No Doubt – "Settle Down"

Beyoncé – "I Was Here"

No Doubt – "Push and Shove"

Labrinth feat Emeli Sandé – "Beneath Your Beautiful"

2013

Rihanna – "Stay"

Tom Odell – "Hold Me"

Garbage and Screaming Females – "Because the Night"

Lana Del Rey – "Young and Beautiful"[7]

Pink feat. Lily Rose Cooper – "True Love"

Birdy – "Wings"

Sophie Ellis-Bextor – "Wanderlust" (Álbum trailer)

Sophie Ellis-Bextor – "Young Blood"[8]

John Mayer featuring Katy Perry – "Who You Love"

Robin Thicke – "Feel Good"

Katy B – "Crying for No Reason"

2014

Sophie Ellis-Bextor – "Runaway Daydreamer"

Tim McGraw – "Lookin' for That Girl"[9]

Birdy – "Words As Weapons"

Katy B – "Still"

Garbage – "Girls Talk"

Sophie Ellis-Bextor – "Love Is a Camera"

OneRepublic – "Love Runs Out"

Gwen Stefani – "Baby Don't Lie"

Gwen Stefani – "Spark the Fire"

Labrinth – "Jealous"

Beck – "Heart Is a Drum"

Sam Smith – "Like I Can"

2015

Garbage – "The Chemicals"

Selena Gomez – "Good for You" (Version 1)

Selena Gomez featuring ASAP Rocky – "Good for You" (Version 2)

Misty Miller – "Happy"

One Direction – "Perfect"

Gwen Stefani – "Used to Love You"

2016

Gwen Stefani – "Make Me Like You"

The Kills – "Heart of a Dog"

Gwen Stefani – "Misery"

Sophie Ellis-Bextor – Familia album trailer

Sophie Ellis-Bextor – "Come With Us"

Sophie Ellis-Bextor – "Crystallise"

Gwen Stefani" – "Kuu Kuu Harajuku" (Theme Song Music Video)·

Noah Cyrus – "Make Me (Cry)"

2017

Wolf Alice – "Don't Delete the Kisses"

Sophie Ellis-Bextor – "Wild Forever"

London Grammar – "Big Picture"

The Kills – "Whirling Eye"

Tim McGraw and Faith Hill – "Speak to a Girl"

Sophie Ellis-Bextor – "Death of Love"

Morrissey – "Spent the Day in Bed"

Bebe Rexha feat. Florida Georgia Line – "Meant to Be"

2018

Kylie Minogue – "Dancing"

Julia Michaels – "Heaven"

Echosmith – "Over My Head"

Kylie Minogue featuring Gente de Zona – "Stop Me from Falling" (Remix)

Pete Yorn & Scarlett Johansson – "Bad Dreams"

Kylie Minogue – "Golden"

Bebe Rexha – "I'm a Mess"

Cheryl – "Love Made Me Do It"

Gwen Stefani feat. Blake Shelton – "You Make It Feel Like Christmas"

2019

Marina and the Diamonds – "Handmade Heaven"

Dido – "Give You Up"

Lil Pump ft. Lil Wayne – "Be Like Me"

Marina and the Diamonds – "Orange Trees"

Blake Shelton – "God’s Country"

Shakespears Sister – "All the Queen's Horses"

Tiësto, Jonas Blue & Rita Ora – "Ritual"

Easy Life – "Earth"

9 notes · View notes

gaymusicchart · 6 years

Video

youtube

GAY MUSIC CHART – 2019 week 04

Welcome to the Gay Music Chart, the LGBTQA related music videos TOP 50 actuality and most request.

Please notice that we received dozens of suggestions, and it's impossible to present all of them in the same week edition because the video would be too long. We have three months three months late to catch up, so it will take some times.

Vote for your favourite LGBTQA related music videos by leaving a comment for this post on :

YOUTUBE (in the comment section of the video of the week) : https://www.youtube.com/channel/UCz7yfp-xq-b08tD6mAWwclA

BLOGGER : http://gaymusicchart.blogspot.fr

FACEBOOK : https://www.facebook.com/GayMusicChart/

TWITTER : https://twitter.com/GayMusicChart with #GayMusicChart

TUMBLR : http://gaymusicchart.tumblr.com

Here are some partners who also makes LGBT charts or presents some LGBT artists :

https://tadslgbtmusiccharts.blogspot.com/

https://www.facebook.com/groups/gaymusicgossipshow/

http://picdeer.com/gaymusicgram

Don’t hesitate to visits their sites !

Here is the recap for this week :

OUT : Kevin Chomat - "La vague" LW: 28 / WO: 2 / PEAK: 18

OUT : Eddy de Pretto - "Grave" LW: 31 / WO: 1 / PEAK: 31

OUT : Fangoria feat. Ms Nina y King Jedet - "¿De qué me culpas?" LW: 35 / WO: 1 / PEAK: 35

OUT : Cub Sport - "Sometimes" LW: 39 / WO: 2 / PEAK: 28

OUT : Nacha La Macha - "Eres Cobarde" LW: 40 / WO: 12 / PEAK: 03

OUT : Laganja Estranja feat. J. Tyler - "Look At Me" LW: 41 / WO: 4 / PEAK: 06

OUT : Man Meadow - "Play It Loud" LW: 42 / WO: 6 / PEAK: 14

OUT : Leo Kalyan - "Focus" LW: 43 / WO: 2 / PEAK: 43

OUT : Smashby - "Under The Sheets" LW: 44 / WO: 2 / PEAK: 16

OUT : Janelle Monáe - "Crazy, Classic, Life" LW: 46 / WO: 2 / PEAK: 46

OUT : Cassandre - "Respire" LW: 47 / WO: 4 / PEAK: 09

OUT : Boy George & Culture Club - "Life" LW: 48 / WO: 2 / PEAK: 34

OUT : Mathew V - "The Coast" LW: 50 / WO: 2 / PEAK: 38

01 (+ 3) : Troye Sivan - "Lucky Strike"

LW: 04 / WO: 2 / PEAK: 01 (x1)

Australia - 2019 - from the album "Bloom"

It's his ninth music video which is #1 in less 4 years! Troye is definitely the little prince of Gay Music Chart.

02 (- 1) : Calvin Harris, Sam Smith - "Promises"

LW: 01 / WO: 8 / PEAK: 01 (x1)

UK - 2018

03 (- 1) : Calum Scott - "No Matter What"

LW: 02 / WO: 3 / PEAK: 01 (x1)

UK - 2018 - from the album "Only Human" (Special Edition)

This really personnal song tells the story of Calum Scott telling his parents he was gay and their reactions of loving him "no matter what". It's a deep and emotional power ballad.

04 (+ 6) : Years & Years - "All For You"

LW: 10 / WO: 14 / PEAK: 01 (x1))

UK - 2018 / from the album "Palo Santo"

05 (- 2) : Jax Jones, Years & Years - "Play"

LW: 03 / WO: 3 / PEAK: 03

UK - 2018 - from the EP "Snacks"

A music video as a Play-doh toy.

06 (+ 12) : Lady Gaga & Bradley Cooper - "Shallow"

LW: 18 / WO: 3 / PEAK: 06

USA - 2018 - from the OST "A Star Is Born"

This song won the Golden Globe for Best Original Song 2018, and is nominated to the Grammys and the Oscars. The movie is about seasoned musician Jackson Maine (Bradley Cooper) discovers-and falls in love with-struggling artist Ally (Gaga). She has just about given up on her dream to make it big as a singer - until Jack coaxes her into the spotlight. But even as Ally's career takes off, the personal side of their relationship is breaking down, as Jack fights an ongoing battle with his own internal demons.

07 (+ 26) : Lizzo - "Juice"

LW: 33 / WO: 2 / PEAK: 07

USA - 2018

08 (+ 14) : Mark Ronson feat. Miley Cyrus - "Nothing Breaks Like a Heart"

LW: 22 / WO: 3 / PEAK: 04

USA - 2018

An excellent collab.

09 (- 2) : Sam Smith - "Fire On Fire"

LW: 07 / WO: 3 / PEAK: 07

UK - 2018 - from the OST "Watership Down"

"Watership Down" is a BBC mini-series adaptation of the book, which tells the story about a warren of rabbits fighting to survive numerous perils as they search for a new home.

10 (+ 10) : Greyson Chance - "Good As Gold"

LW: 20 / WO: 5 / PEAK: 10

USA - 2018

The song was already in our chart in September, but the music video was released during our break.

11 (+ 10) : Troye Sivan and Jónsi - "Revelation" (Lyric video)

LW: 21 / WO: 3 / PEAK: 11

Australia / Iceland - 2018 - from the OST "Boy Erased"

The song was nominated on the 2019 Golden Globe Award for Best Original Song. The movie "Boy Erased" follows the son of Baptist parents who is forced to take part in a gay conversion therapy program.

12 (- 7) : Bilal Hassani - "Roi" (Lyrics Video)

LW: 05 / WO: 3 / PEAK: 05

France - 2019

Bilal Hassani won Destination Eurovision 2019 and will represent France at the Eurovision Song Contest 2019 in Tel Avivwith this song about self esteem.

13 (- 2) : Peter Wilson & Sean Smith - "Verona"

LW: 11 / WO: 9 / PEAK: 01 (x2)

UK - 2018 / from the album "The Passion and The Flame"

This awesome cover of the 2017's Estonian Eurovision track from Koit Toome and Laura is produced by Matt Pop.

14 (- 6) : Panic! At The Disco - "High Hopes"

LW: 08 / WO: 6 / PEAK: 06

USA - 2018 / from the album "Pray For The Wicked"

15 (+ 9) : LP - "Recovery"

LW: 24 / WO: 3 / PEAK: 15

USA - 2018 - from the album "Heart To Mouth"

This is the second single of her latest album.

16 (- 7) : Blair St. Clair - "Irresistible"

LW: 09 / WO: 3 / PEAK: 09

USA - 2018 - from the EP "Call My Life"

This is the third single of her first EP. Her EP was #1 on Billboard

Dance/Electronic Albums Sales Chart.

It's actually #1 on Tad's LGBT Music Charts.

17 (- 2) : Theo X - "You Don't Wanna Dance"

LW: 15 / WO: 3 / PEAK: 09

Denmark - 2018

In this cute music video, a young teen dares to give an invitation to dance to another boy. Love is love.

18 (- 4) : Halsey - "Without Me"

LW: 14 / WO: 3 / PEAK: 14

USA - 2018

19 (- 6) : Allen King feat. Amor Romeira - "My Boy"

LW: 13 / WO: 5 / PEAK: 03

Spain - 2018

20 (+ 10) : Federica Abbate - "Finalmente"

LW: 30 / WO: 2 / PEAK: 20

Italy - 2018

This song came second in the first part of the Sanremo Giovani 2018 Music Festival for emergent artists. The lyrics talk about a love relationship badly judged by the entourage. If the lyrics aren't specifically gay, the music video is, with the portrayal of a young man who comes out to his father who rejects him in return. So, the young man can only be reconforted by his boyfriend and his friends. Until... Beautiful.

21 (- 2) : Tiago Braga - Ilusão

LW: 19 / WO: 21 / PEAK: 06

Portugal - 2018

A story of infidelity.

22 (+ 4) : Jeff Carl - "Buried in New York"

LW: 26 / WO: 3 / PEAK: 17

USA - 2018

The music video shows the singer living his first months of celibacy in New York but realizing that he hasn’t totally forgotten his previous love relationship.

23 (- 11) : Sam Bluer - "Body High"

LW: 12 / WO: 10 / PEAK: 03

Australia - 2018

This is his debut music video. A revelation.

24 (- 8) : Urgence Homophobie - "De l'Amour"

LW: 16 / WO: 3 / PEAK: 10

France - 2018

As homophobic attacks have increased by 15% in 2018 in France, 70 French celebrities made this song to fight homophobia.

25 (=) : Michael Medrano - "Love Somebody Else"

LW: 25 / WO: 3 / PEAK: 23

USA - 2018

The song was previously presented in our chart, but the music video was only released during our break.

26 (+ 1) : Scott Free - "We Honor The Dead" (World Martyrs)

LW: 27 / WO: 2 / PEAK: 26

USA - 2019

A tribute to engaged LGBTQ men and women who died while defending LGBTQ Rights around the world.

27 (- 21) : Charli XCX & Troye Sivan - "1999"

LW: 06 / WO: 3 / PEAK: 05

UK / Australia - 2018

The music video is a real revival of what made the year 1999.

28 (+ 6) : Pabllo Vittar - "Disk Me"

LW: 34 / WO: 3 / PEAK: 28

Brazil - 2018 - from the album "Não Para Não"

She was definitely the most successful drag queen in 2018, due to her large success this year, except in our chart (and we still don't know why).

29 (+ 9) : Silva - "Duas da Tarde"

LW: 38 / WO: 2 / PEAK: 27

Brazil - 2018 - from the album "Brasileiro"

30 (+ 19) : The Diesel Tykes feat. Tim'm West / LnK - "Every Day Is Earth Day"

LW: 49 / WO: 2 / PEAK: 28

USA - 2018

It's everyday time to save the Earth with this catchy song by Scott Free !

31 (NEW) : Mx Blouse - "No Match"

LW: - / WO: 1 / PEAK: 31

South Africa - 2019

32 (NEW) : LOZOVOY - Певица ("Pevitsa" / "Singer")

LW: - / WO: 1 / PEAK: 32

Ukraine - 2019

This is his first single.

33 (+ 3) : Openside - "Character Flaws"

LW: 36 / WO: 3 / PEAK: 11

New Zealand - 2018

This is their sixth single, but we're still waiting for an album!

34 (+ 3) : Sam Tsui - "A Million Pieces"

LW: 37 / WO: 2 / PEAK: 34

USA - 2018 - from the album "Trust"

35 (- 3) : Zee Machine - "Dangerous"

LW: 32 / WO: 3 / PEAK: 31

USA - 2018 - from the EP "Brainchemistry"

Zee Machine, aka Joe Bissell, released his first EP in April 2018.

36 (NEW) : Sam Smith, Normani - "Dancing With A Stranger" (Official Audio)

LW: - / WO: 1 / PEAK: 36

UK / USA - 2019

This is a passionate duet about coping with loneliness and trying to get over a lost love.

37 (NEW) : Not.Your.Regular.Boy. - "It's All Yours"

LW: - / WO: 1 / PEAK: 37

The Netherlands - 2018

This is his third single.

38 (- 15) : Jake Shears - "Everything I'll Ever Need"

LW: 23 / WO: 3 / PEAK: 19

USA - 2018 - from the album "Jake Shears"

This is the third single of his first solo album.

39 (+ 6) : Mike Maimone - "Through The Changes"

LW: 45 / WO: 2 / PEAK: 39

USA - 2018 - from the EP "The High Hat Club"

40 (NEW) : Navraj Hans, Harshdeep Kaur - "Gud Naal Ishq Mitha"

LW: - / WO: 1 / PEAK: 40

India - 2019 - from the album "Ek Ladki Ko Dekha Toh Aisa Laga" OST

This Bollywood lesbian romance is the story of a man, played by Rajkummar, who fell in love with a girl, played by Sonam. Her family is looking for a suitable match for her and while there are several good options, she isn’t ready to say yes to any of them. She says she has a secret, something that causes her parents to turn against her. Bits from the trailer, like showing two women being torn apart by a mob, hint that she has fallen in love with a girl. The film will release on 1st February 2019 on Indians cinemas.

41 (NEW) : Hương Giang - "Anh Đang Ở Đâu Đấy Anh"

LW: - / WO: 1 / PEAK: 41

Vietnam - 2018

This music video is by far the most popular from the transgender singer on her YouTube channel with already more than 20 millions views. The music video is a 11 minutes short movie, where her boyfriend is cheating on her with her best friend. Tragedy.

42 (- 25) : Westlife - "Hello My Love"

LW: 17 / WO: 2 / PEAK: 17

Ireland - 2019

The members are reunited after a break of 6 years and a half !

43 (NEW) : Clean Bandit feat. Marina & Luis Fonsi - "Baby"

LW: - / WO: 1 / PEAK: 43

UK / USA (Puerto Rico) - 2018 - from the album "What is Love ?"

In this music video, during her wedding with a man, a woman remembers her love for another woman in a summer camp.

44 (- 15) : Allen King - "Mejor Me Quedo Solo"

LW: 29 / WO: 2 / PEAK: 29

Spain - 2019

After the success of his previous single "Boy", here the new single of the famous pornstar. Shake your bon bon on this sensual rythm !

45 (NEW) : Jay Shih 是元介 - "Old Man"《偕老》

LW: - / WO: 1 / PEAK: 45

Taiwan - 2018

This is another song from "The Rainbow MV Film Project" which fights homophobia in Taiwan. The music video presents a gay couple getting older together, until death comes.

46 (NEW) : Esteman - "Fuimos Amor"

LW: - / WO: 1 / PEAK: 46

Colombia - 2018

His third album "Amor libre" will release in debut 2019.

47 (RE-ENTRY) : Echo Black - "Poison Apple"

LW: - / WO: 2 / PEAK: 37

USA - 2018 - from the album "Dawn"

The queer lead singer of the band is Danny Blu.

48 (NEW) : Falko - "Fragile"

LW: - / WO: 1 / PEAK: 48

Belgium - 2018

The former contestant of Idol 2011 and Mister Gay Belgium 2018 releases a new song in english and spanish, and don't hesitated to show his body naked in his music video.

49 (NEW) : Milow feat. Matt Simons - "Lay Your Worry Down"

LW: - / WO: 1 / PEAK: 49

The Netherlands / USA - 2018

There is a gay couple in this music video. It"s actually #1 on THE GAY 100 chart.

50 (NEW) : Gloria Groove - "Coisa Boa"

LW: - / WO: 1 / PEAK: 50

Brazil - 2018

NEW THIS WEEK

Bilal Hassani – Roi (Live @ Destination Eurovision 2019 Final)

LW: 05 / WO: 3 / PEAK: 05

France - 2019

Bilal Hassani won Destination Eurovision 2019 and will represent France at the Eurovision Song Contest 2019 in Tel Aviv.

Emmanuel Moire - "La promesse" (Live @ Destination Eurovision 2019 Final)

LW: - / WO: - / PEAK: -

France - 2019

This personnal song about selfesteem and loving men came 4th at Destination Eurovision 2019.

Erlend Bratland - "Sing For You"

LW: - / WO: - / PEAK: -

Norway - 2019

The singer is back at the Melodi Grand Prix, the norwegian national selection for the Eurovision Song Contest 2019. Last time, he came second with his song "Thunderstruck". Will he win this time ? The answer the 2 March 2019.

Hatari - "Spillingardans"

LW: - / WO: - / PEAK: -

Iceland - 2018

Disgusting. Scary. Intriguing. Exciting... The industrial gothic trio from Reykjavik is selected to Söngvakeppnin, the Icelandic national selection for the Eurovision Song Contest 2019. Not with this song, but when you listen to this, you are already intrigued and excited...

Miss Benny - "Rendezvous"

LW: - / WO: - / PEAK: -

USA - 2019

Miss Benny is the new project of Ben J. Pierce aka Kid POV, aka Benny, well known here for his previous singles, included "Boys Will Be Boys". Welcome back!

Alex vdH - "Georgia Summer Dream"

LW: - / WO: - / PEAK: -

USA - 2018

Alex van der Hoek brings you melancholia with this song.

Reigen - "High on U"

LW: - / WO: - / PEAK: -

USA - 2019

Lauv & Troye Sivan - "i'm so tired..." [Official Audio]

LW: - / WO: - / PEAK: -

USA / Australia - 2019

Ariana Grande - "thank u, next"

LW: - / WO: - / PEAK: -

USA - 2018 - from the album "thank u, next"

Troye Sivan features in the music video.

Imagine Dragons - "Bad Liar"

LW: - / WO: - / PEAK: -

USA - 2019 - from the album "origins"

Lauren Jauregui - "More Than That"

LW: - / WO: - / PEAK: -

USA - 2018

Mike Duran feat. Kevin Fret - "Diferente"

LW: - / WO: - / PEAK: -

USA (Puerto Rico) - 2018

Kevin Fret was the first openly gay Latin trap artist. The 24 years old out rapper has been shot dead, with eight shots with a gun while he was on his motorbike. Police is urged to investigate whether rapper's murder was hate crime. This song, called "I'm Like This", and the music video, don't hide his homosexuality.

Slow Dance - "(dead)" (Official Lyric Video)

LW: - / WO: - / PEAK: -

USA - 2018

This is their first track.

Andy je t'aime - "Que toi"

LW: - / WO: - / PEAK: -

France - 2018

Back to the 80's with the musical project of model and actor Brice Michelini, who sings his love for his boyfriend.

Emilie Marsh - "J'embrasse le premier soir"

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France - 2019

She says she kisses at the first date.

Clinton Paul - "Diamond"

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Malta - 2018

This was Malta Pride 2018's single.

AURORA - "Animal"

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Norway - 2019

Rina Sawayama - "Cherry"

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UK - 2018

White Lies - "Tokyo"

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UK - 2019 - from the album "FIVE"

FOALS - "Exits"

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UK - 2019 - from the album "Everything Not Saved Will Be Lost Part 1"

There is a same-sex kiss in this music video.

Crystal Fighters - "All My Love"

LW: - / WO: - / PEAK: -

UK / Spain - 2019 - from the EP "Hypnotic Sun"

Ricky Merino - "Miénteme"

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Spain - 2018

This is second single, and the first on after Operación Triunfo 2018.

Agoney - "Quizás"

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Spain - 2018

This is the first single of the former contestant of Operación Triunfo 2018.

Miss Caffeina - "Merli"

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Spain - 2018 - from the album "Oh Long Johnson"

There is a same-sex kiss in this music video.

Esteman - "Sociedad"

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Colombia - 2019

Dani Ride - "¿Para Qué?"

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Chile - 2019

Jão - "Me Beija Com Raiva"

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Brazil - 2018 - from the album "Lobos"

It's the first time the singer talks about his sexual orientation with this song, writen for an ex-lover who broke his heart.

Romero Ferro - "Acabar A Brincadeira"

LW: - / WO: - / PEAK: -

Brazil - 2018

ดิว อรุณพงศ์ Dew Arunpong -【ไม่ว่าอะไร】/ "Mai Wah A Rai (Wish this love)"

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Thailand - 2018 - from the album "Bung Earn Ruk LOVE BY CHANCE OST"

Taichi Mukai 向井太一 / "Pure"

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Japan - 2018 - from the album "Pure"

DEAN FUJIOKA - "History Maker"

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Japan - 2019 - from the album "History in the Making"

The opening song of the queer 2017's japanime "Yuri!!! on Ice" has now an official music video (nothing gay in it) for the release of the new album of the Japanase singer. But for us, listening to this song always reminds us Yuri and Victor.

盧學叡 Afalean -【有我在 Ilakaku】

LW: - / WO: - / PEAK: -

Taiwan - 2018

This is another song from "The Rainbow MV Film Project" which fights homophobia in Taiwan. The music video presents a father who discovers his son is gay and contacts a association similar to PFLAG, which helps parents to deal and support their children's homosexuality.

HUSH - [ 不祥的預感 ] / "Ominous Premonition"

LW: - / WO: - / PEAK: -

Taiwan - 2019 - from the album 『换句话说』/ "In Other Words"

Purple Disco Machine - "Dished (Male Stripper)"

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Germany - 2018

The music video follows a drag queen working in a club.

VELO feat. Manila Luzon - "She"

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USA - 2019 - from the album "Outcast"

Dumplin' | Drag Queens Cover Dolly Parton's "Jolene" | Netflix

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USA - 2018

This is an advertisement for the new Netflix's show "Dumplin' ".

Willam Belli - "Aileen"

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USA - 2018

As often, Willam Belli isn't politically correct with this parody about serial killer Aileen Wuornos.

Alaska Thunderfuck - "Snaked"

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USA - 2018

Monique Heart - "Brown Cow Stunning" (Mitch Ferrino Mix)

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USA - 2018

Patrick Starrr - "Don't"

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USA - 2018

Valentina - "A Prueba De Todo"

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USA - 2018

Her first single needs a music video : fans need it !

Courtney Act - "Courtney Act's Christmas Extravaganza - Big Opening"

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Australia - 2018

Here is the opening number for her Christmas Special on Channel 4.

Trey Pearson - "Under The Mistletoe" (Lyric Video)

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USA - 2018

A cute Christmas song.

#Gay Music Chart #LGBT music #2019 week 04 #Bilal Hassani #Eurovision

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