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The New Main Street Singers, led by a perpetually chipper couple (John Michael Higgins and Jane Lynch), are happy to take part, as are the three guys (Guest, Michael McKean and Harry Shearer) who make up Spinal Tap - err, The Folksmen.
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At the start of this ingratiating "mockumentary" from writer-director-actor Christopher Guest ( Best In Show, Waiting for Guffman), music promoter Irving Steinbloom has just passed away, and to honor his memory, his son (Bob Balaban) has decided to organize a live TV concert that would bring together the three '60s folk groups that Irving had championed back in the day. That Ballin carries a cane which shoots out a deadly blade - and that he calls his phallic cane his "little friend" (though, sadly, he never barks, "Say hello to my little friend!" as Al Pacino's Tony Montana would 37 years later) - is but one of the hints of the homoerotic content simmering beneath all the lusty shots of Ballin's wife (and Johnny's ex) Gilda tossing back her hair or sliding through a performance of "Put the Blame on Mame." The plot elements aren't always riveting - a staged death, tungsten patents as the designated MacGuffin, comic relief by Steven Geray's Uncle Pio - but the subtext of the pas de trois never disappoints.īlu-ray extras consist of audio commentary by film critic Richard Schickel interviews with filmmakers Martin Scorsese and Baz Luhrmann and film critic Eddie Muller a 1964 episode of Hollywood and the Stars focusing on Hayworth and the theatrical trailer.Įugene Levy and Catherine O’Hara in A Mighty Wind (Photo: Warner)Ī MIGHTY WIND (2003). She's the temptress caught between two men who often seem to have eyes for each other more than for her: the wealthy, urbane crook Ballin Mundson (George Macready) and his loyal if opportunistic right-hand man Johnny Farrell (Glenn Ford).
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The 1940s were a great period for sly innuendoes and cheeky double entendres in movies, and Gilda dances on the Production Code edge with reckless abandon. And with that, Hayworth went from being a star to a superstar, the sexy, shimmering drink of water at the center of a down-and-dirty film noir-cum-psychosexual drama.
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Rita Hayworth as Gilda will have none of that - instead, she pops up seemingly from underneath the screen in full light, like firecrackers bursting skyward on the Fourth of July. The most famous entrances in film history usually find the protagonist emerging from the shadows - think, for instance, of Orson Welles as Harry Lime in The Third Man, Harrison Ford as Indiana Jones in Raiders of the Lost Ark, or Arnold Schwarzenegger as The Terminator. Rita Hayworth in Gilda (Photo: Criterion) Sanders.īlu-ray extras include audio commentary by del Toro a making-of featurette deleted scenes a piece in which del Toro discusses Gothic romance in film and looks at the sets and costumes. With the majority of its twists easy to deduce and the rest telegraphed far ahead of time, the picture isn't at all scary or suspenseful, but it also isn't remotely atmospheric, a shock considering the elegance of the costume design by Kate Hawley and the richness of the production design by Thomas E. Del Toro clearly means for Crimson Peak to register as a throwback to classic films steeped in Gothic ambience, but he piles on the artifice to such an excessive degree that the entire project suffers from overbearing overkill. But almost immediately upon arriving at this dilapidated, isolated estate, Emily is exposed to all manner of inexplicable sights and sounds. In her case, she tosses aside a colorless suitor (colorless Charlie Hunnam) for a mysterious Brit named Thomas Sharpe (Tom Hiddleston), marries this haunted man, and moves to his family home in England, where the couple will share quarters with his perpetually brooding sister Lucille (Jessica Chastain). Edith is visited by the ghost of her mother, who warns her to "Beware of Crimson Peak!" Edith can make no sense of the spectral suggestion, so she proceeds with her life, which, following the lead of any young protagonist in a bildungsroman, finds her leaving home for lands unknown. Mia Wasikowska essays the role of Edith Cushing, an aspiring novelist living in turn-of-the-20th-century Buffalo with her protective father (an excellent Jim Beaver). One of last fall's biggest disappointments, writer-director Guillermo del Toro's Crimson Peak will likely only appeal to moviegoers unfamiliar with Jane Eyre or Henry James or Bluebeard or Daphne du Maurier or, heck, even The Silence of the Lambs. Mia Wasikowska in Crimson Peak (Photo: Universal)ĬRIMSON PEAK (2015).