Hotline humanizes the professionals who answer hotline calls by revealing their faces and allowing them to be as vulnerable as the people who call them, for everything from phone sex and homework tutoring to psychic divination and 911 emergencies. But the film has a hard time developing a cogent structure given its plethora of stories. One particularly captivating talking head worthy of her own feature-length treatment is Miss Cleo, the notorious spokesperson for a psychic pay-per-call service. While some of the other professionals profiled by director Tony Shaff reveal compelling anecdotes about previous calls and the reasons for their pursuit of this line of work, they also spew a lot of truisms about loneliness and selflessness. Miss Cleo’s trajectory of swift televisual fame, set against the underpaid reality of most dispatchers (24 cents a minute or less), and her downfall when the state of Florida sues her, bears a gravitas that only highlights the superficial squeaky-clean honesty of many of the film’s other subjects.
Derek Jarman (#1–10 of 7)
1. “Ruby Dee R.I.P.” A ringing voice for civial rights, onstage and off, Dee dies at 91.
“Ruby Dee, one of the most enduring actresses of theater and film, whose public profile and activist passions made her, along with her husband, Ossie Davis, a leading advocate for civil rights both in show business and in the wider world, died on Wednesday at her home in New Rochelle, N.Y. She was 91. A diminutive beauty with a sense of persistent social distress and a restless, probing intelligence, Ms. Dee began her performing career in the 1940s, and it continued well into the 21st century. She was always a critical favorite, though not often cast as a leading lady. Her most successful central role was Off Broadway, in the 1970 Athol Fugard drama, ’Boesman and Lena,’ about a pair of nomadic mixed-race South Africans, for which she received overwhelming praise. Clive Barnes wrote in The New York Times, ’Ruby Dee as Lena is giving one of the finest performances I have ever seen.’”
1. “Tony Awards 2014 Winners: The Complete List.” Neil Patrick Harris, Bryan Cranston and Audra McDonald were among the night’s big winners.
“The 68th annual Tony Awards were handed out Sunday night at New York’s Radio City Music Hall. A Gentleman’s Guide to Love and Murder was named best musical, while Hedwig and the Angry Inch took home the award for best revival of a musical. All the Way was named best play, while A Raisin in the Sun won best revival of a play. The awards ceremony, hosted by Hugh Jackman for the fourth time, aired live on CBS.”
- a gentleman's guide to love and murder
- a raisin in the sun
- aaron cutler
- all the way
- audra mcdonald
- bryan cranston
- derek jarman
- hedwig and the angry inch
- michael haneke
- neil patrick harris
- Nick Pinkerton
- Paul Thomas Anderson
- silent film
- snoop dogg
- Steven Spielberg
- the immigrant
- tony awards
Christopher Nolan is a tradionalist.
The 100 best horror films as voted by over 100 experts including Simon Pegg and Roger Corman.
David Ehrenstein presents...Derek Jarman Day.
Caine Monroy has more than $100k toward his future.
Frances Cobain feels Twitter should ban her “biological mother.”
Carrie remake starring Chloe Moretz goes to prom on March 15, 2013.
He might be a famous Vulcan, but Zachary Quinto has no problem being fully human.
David Ehrenstein takes a look at the films of Derek Jarman, part of an ongoing tribute over at Fandor’s Keyframe blog.
National Book Award finalist Lauren Myracle withdraws after mistake.
Christopher Hitchens assures us it’s okay to question Mitt Romeny’s weird and sinister beliefs.
According to a recent poll, the majority of New Yorkers support the Occupy Wall Street protesters.
Meanwhile, the movement has also been inspiring short fiction.
- a.o. scott
- au hasard balthazar
- cars 2
- christopher hitchens
- david ehrenstein
- derek jarman
- john lasseter
- lars von trier
- lauren myracle
- mitt romeny
- national book awards
- new zealand
- occupy wall street
- pope benedict xvi
- Robert Bresson
- sesame street
- susan sarandon
- the hangover part ii
- zachary quinto
The 1992 release of Orlando propelled director Sally Potter to forefront of independent filmmakers. She had achieved the seemingly impossible task of bringing to the screen Virginia Woolf’s fantastical 1928 novel about a 16th-century English nobleman who lives through three centuries, while aging only three decades and changing gender in the process. Not only did she create a sumptuous historical epic with independent financing (it marked the first film co-production with Russia), she also retained the wit and tongue-in-cheek lightness of the original, expanding Woolf’s story into the 20th century as well. The movie also launched the career of Tilda Swinton, the incandescent Scottish actress who played Orlando, as both male and female.
Potter had begun making experimental movies as a teenager in England and made her first full-length feature film The Gold Diggers, starring Julie Christie, in 1983. She had also pursued a career as a musician as well. The Museum of Modern Art in New York recently concluded a two-week retrospective of Potter’s four-decade avant-garde career, including her latest work Rage, a set of confessional vignettes about a New York fashion event seemingly recorded by a schoolboy on his cellphone, which was initially released on mobile phone applications prior to a theatrical release last year.
Derek Jarman’s films are, already, such a naked, passionate, intimate portrait of their creator and his ideas that one wouldn’t expect that Jarman would have had much energy left over to pour into written autobiography. Nevertheless, Jarman was a prolific writer as well as a filmmaker and artist, and his creative pursuits in multiple artistic forms constitute a unified body of work; the books are every bit as essential as the films to those who wish to understand Jarman. The University of Minnesota Press has thus done a valuable service in reissuing three of these books: Chroma, Jarman’s collection of writings on color, his 1989-90 diary Modern Nature, and At Your Own Risk: A Saint’s Testament, a loose autobiographical book that traces Jarman’s experiences of society’s reactions to gayness.
At Your Own Risk is a very angry book, and rightfully so. Jarman was writing in the last years of his life, as he entered the advanced stages of AIDS-related illness, starting to go blind as many of his friends died from the same disease that he knew would soon enough claim him as well. Moreover, he was writing from within a culture that had, throughout his life, consistently restricted and tormented homosexuals, legislating their behavior and, with the onset of HIV/AIDS, all but ignoring the problem until it dawned on everyone that heterosexuals were being affected too. Jarman’s book is structured by decades, from the 1940s to the then-nascent 1990s (the book was written in 1992, two years before Jarman’s death), and in each decade-spanning chapter, Jarman chronicles how gays were treated by society and how his own dawning understanding of his sexual identity developed.