"53"

Though the western has always been a durable (and distinctly American) genre, only six western titles appear on the American Film institute’s list of top 100 films. One of them is a personal favorite, 1953’s “Shane.”

How long since you’ve seen “On the Waterfront”? I just had the privilege of screening it again on the big screen at The Bedford Playhouse, and after nearly seven decades this brilliant film holds up extraordinarily well. It is, in fact, a masterpiece- a term I rarely invoke.

With the 91st Academy Awards upon us, the time feels right to recognize the crucial role that movies have played in our lives, particularly in troubled times.

Many of us have lost someone we love way too soon. After the initial shock and grief recede somewhat, the prevailing feeling (at least for me) is waste. Wasted opportunity. What more could that person have done with his or her life? I feel it too with famous names in the arts who left us way too soon.

In theatre they call it “breaking the fourth wall” - that “wall” being the one we sit behind as popcorn-chewing observers. When used sparingly, this technique can be hilarious (or really creepy).

Just like the image of her fragile, unconventional beauty trapped within the glow of a tight spotlight, Judy Garland’s life as a performer was surrounded by a vast darkness. She gave the world her special gift, and it gave back not a shred of happiness. There was an overarching sadness about her that only grew more pronounced as the hard years went by. As Frank Sinatra put it, “When she sang, it always felt like she died a little.”   It was tragic pretty much from the outset. When overbearing show mom Ethel Milne found she was pregnant with her third child by husband Frank Gumm, she attempted to induce miscarriage by throwing herself down a flight of stairs. Failing that, she tried to get an abortion. This desire may have partly stemmed from Ethel’s growing suspicion that her husband was homosexual. Regardless, a family friend finally convinced the couple that this little one would be a blessing. They hoped for a boy. On June 10, 1922 they welcomed their third daughter – Frances Ethel Gumm – the combined hopes of her mother and father right there in her name.

 Tonight, make it real; watch a doc.  Here’s a bugaboo of mine: while the documentary form offers viewers incredible rewards, it rarely gets the attention it deserves. Theories abound as to why, the most prominent being that people tend to watch movies to be transported, to actually get away from life as it is. Perhaps there’s some truth to that, but to avoid the best of these films is to miss out on something truly special. In examining real life, its myriad characters and society as a whole, docs can be wildly entertaining, yet still deliver a form of insight and impact quite distinct from narrative films.

Over the course of movie history, there have been the great actresses, women who light up the screen with charisma and character, like Bette Davis, Katharine Hepburn, and Meryl Streep. There have also been women whose special gifts had more to do with the sexual allure they projected. Hey fellas, you must have noticed them, right? Brace yourselves then- here are our picks for the top twenty female cinematic sex symbols of all time. (Drum roll). 

Katharine Hepburn, whose birthday falls today, remains the only actor or actress to be awarded four Oscars. Yes, Meryl has long since surpassed her on nominations, but Kate still leads on wins. Few people now realize that by the end of 1938, after just six years in Hollywood, pundits were saying Kate was all washed up. In 1939, the year many point to as Hollywood’s finest, Kate didn’t have a single movie credit.  True, she got her first break early enough, as talking pictures in the early ‘30s were always searching for young, attractive Broadway-bred comers who could actually speak. Kate made an auspicious debut in 1932’s “A Bill Of Divorcement," opposite the aging, alcoholic John Barrymore (who played her father).