By Anne Brodie
Faye Dunaway’s singularity in the ’60s and ’70s as an actor and independent woman was important and we are reminded in the doc Faye. She was strong-willed, talented and made her demands clear, as the women’s movement caught up to her. Dunaway’s power exploded asBonnie Parker in her first major film, Bonnie & Clyde (1967), opposite Warren Beatty as Clyde Barrow. It was brutally emotional yet lyrical, the fact-based story of the bank-robbing duo from the ‘30s, and horrific and chnaged Hollywood stories, which now embraced its extreme onscreen violence. The studios weren’t interested but it became a cultural global sensation. From there, Dunaway went from strength to strength in one iconic film performance after another – The Thomas Crown Affair, Chinatown, Little Big Man, The Eyes of Laura Mars, Three Days of the Condor, and Network winning the Best Actress for Network (shot in Toronto at CTV Agincourt) and countless more. Later she moved to television and returned to the stage; she was even in Road to Avonlea! Now 83, Dunaway looks back on it all with remarkable candor. She discusses her struggles with bipolar disorder and alcoholism and her acknowledged reputation for being “difficult”, which I can attest to, she kicked out people who were with me for an interview out of the room but was lovely after that. Her adoration for her adopted son Liam, who helps keep her on track and his for her are vivid. Dunaway’s intelligence and hard-won optimism shine forth and our hearts go out to her with empathy and gratitude for all she has achieved as a pioneer, actor, and inspiration. Filmmaker Laurent Bouzereau interviews son Liam Dunaway O’Neill, Sharon Stone, Mark Harris, Robin Morgan, film professor Annette Insdorf, Mickey Rourke, and filmmakers, journalists, and friends. But the pieces de resistance are Dunaway’s own unflinchingly honest words, clarity, and grace. July 13 on HBO and Max.
The delightfully offbeat Bookworm, a fairy tale drama with surreal comedy elements stars Elijah Wood as Strawn and talented newcomer, Nell Fisher as 11-year-old Mildred. He shows up out of the blue, a total stranger and announces he is her “biological father”. Her mother’s in a coma and unable to take her on a promised camping trip so he offers to. He’s a magician/illusionist and she’s a huge reader, a bookworm and they click. Their aim out in the wild is to obtain proof of the existence of the killer mythological Canterbury Panther in the New Zealand wilds; they’d win a nice money prize and her mother could stop working three jobs, once she is out of the coma, and all would be well. Their adventures are dramatic, funny, dangerous, and bizarre; they’re having the time of their lives and so are we — the magic is contagious. They share personal info – he’s no longer friends with David Blaine and claims he can levitate. She offers witticisms, wordplay, and wisdom beyond the ken of an 11-year-old. Bookworm is endlessly delightful, a real surprise. Screens as Montreal’s Fantasia Festival of Genre Films opening night at Auditorium des diplômés de la SGWU (Théâtre Hall) and wide later.
Granite Harbour on BritBox S1E1 follows Royal Military Police Sergeant Davis Lindo (Romario Simpson), an ambitious Jamaican soldier with ten years’ experience as he reports for duty in Aberdeen, Scotland. He’s told in no uncertain terms that despite his experience and excellent record, he is considered a “rookie” as he trains as a Detective Constable. It’s a disappointment and an insult; he’s aiming for New Scotland Yard in London. He and his partner DS Lara Bartlett (Hannah Donaldson) are assigned to the murder of an oil magnate who has just promised to go green with his partners in Norway. Things get ugly with eco-warriors at a news conference and he’s found murdered. Among his enemies were factions in both countries and his grapsing brother Shay; they argued at the news conference. Bart and Lindo unearth a goldmine of intel in the local pub as they try to determine who stands to benefit from Coburn’s death. Turns out his female Norwegian business partner will inherit his entire estate. Lindo’s impressive instincts annoy his colleagues and he’s told to shut up and step back. Meanwhile, the list of suspects continues to expand. Simpson’s extraordinary, nuanced performance isn’t matched by the material, but it introduces him as a capable actor on the threshold of big things.
As part of my boss, Candace Sampson’s teen focussed shows this week, here are my fave teen films. They dominated 80s and 90s in ways not seen before or since. Catering to teens was big business, an industry unto itself and imprinted many of us The Brat Pack oeuvre drove the studio crush on teens and it seems the public was hungry for it. Here are some worthies including 2023′ massive hit, you know, the pink one.
Barbie – Oh, Barbie you saved a struggling 2023 box office and created a universe of delights for kids looking for a new/old role model to lead the way, literally and figuratively. A doll-like woman with plenty of charm and smarts rallies the women in her pink town to express themselves and all they are, have the time of their lives, and celebrate the feminine, even if clad in throwback pink. Barbie and her pals celebrate diverse gender and sexual identity, enlightened by 2023 values, hope for the future, and all kinds of good things. The satirical, pop-y songs are joyous, snarky, and innocent and the film is beautiful to look at. Margot Robbie is perfection as Barbie and Ryan Gosling a true Oscar-worthy Ken. There hasn’t been a film rallying teens as strong as this one …ever?
Anything Brat Pack. These are landmark 80s teen films, generally well made and well written, often by John Hughes, that became more than just movies. Aside from a couple of duds, the 12 films became significant social and cultural milestones, opening the floodgates to a new kind of story and a new audience. They hit at the right time and became classics; we didn’t know we needed them and it turns out, we did. There was a craving for teen/twenties fare and these films were powerful appetisers. Hollywood resisted them ollowing a spate in the 50s and 60s, at first, but the Brat Pack box office returns changed minds fast. Check out Brats on Disney+ as the stars discuss the phenomenon.
The Twilight series (2008) explored romance/first love/sexual awakening in a positive manner and set it in a romantic mountain forest backdrop that only enhanced its dark mood, sensuality, and secrecy and became the perfect spot for special effects. The well-executed sci-fi changeling story altered it, raised the teen story to new heights, and made stars of the cast. It allowed and encouraged our imagination to run wild, anchored in dizzying human first passions. It was a landmark series because of its understanding of the mysteries of psychology, sexuality, and increasing awareness. Brilliant, earthy, and sexy.
Alicia Silverstone made history in Clueless as Beverly Hills rich girl Cher, a forward-looking feminist, unafraid to shake up the status quo and work towards her goals. She was a good friend, school leader, inspiratinal high school officer and fashion leader. Sure, she was kind of shallow in the au courant Valley Girl vein but she was a master of human psychology and naturally effective dealing with people, a role model (what a phrase) whose dignity, humour, and smarts inspired people of all ages in 1995. It was funny, endearing, and inspiring.
I remember being deeply moved by the story of friendship in the period piece Stand By Me; a group of boys most of whom became stars (River Phoenix, Kiefer Sutherland, Will Wheaton, Jerry O’Connell, and Corey Feldman) reenact a writer’s memories of the day he and his young friends went out in search of the body of a missing boy. Their journey is a revelation, delineating the relationships between them, as interpreted by one of them as a grown man. It reminds us of our own innocence and keen sense of adventure, as compared to being grown, responsible, and safety-minded. Its imagery remains in my head and I’m happy to be reminded of it.
Halloween, Scream, Carrie, and Nightmare on Elm are cut from the same cloth – the mainstream teen horror craze launched by ‘Scream Queen” Jamie Lee Curtis as Laurie Strode in Halloween (1978). These films exploited teenaged angst, the other side of the story reflecting youthful doubt, anxiety, fear, shock, and tension of growing up, expressed in a movie about a lone babysitter protecting her charges from a serial killer who may be in the house. Heady stuff. And the kids loved it. Halloween was the jolts per minute they’d had been looking for, a release of tension, the freedom to scream in a theatre and no one looks at you funny, and get behind – literally – a woman with brains defending the household with intuition, wit, and ultimately succeeding … or does she? That was key to the sequels. Wow. Hats off to Jamie.
Special Mentions
Interview with the Vampire (1994) remains a beloved period romance mostly because it starred gush-worthy teen dreams Tom Cruise and Brad Pitt looking gorgeous and behaving against type. A young Kirsten Dunst is about the get an education as the three navigate a twisted relationship. It allowed teens to flirt with soul-deep danger and see the forbidden sides of their screen idols.
The Mean Girls (2004) vibe is strong all these years later. Lindsay Lohan breaks into the little Ms. Perfect clique at school, only to find they are far from it. Having grown up in Africa and relocated to LA, she’s not ready for the conformity of LA high school. When she dares stand up for herself and becomes a love rival, they go for her. Immortal line “Get in loser, we’re going shopping”.
American Pie! (1999) Can’t forget that scene or Eugene Levy’s face and Jennifer Coolidge as Stifler’s mother. A sweetly, hilariously bawdy story of four pals in search of ways to lose their virginity. Nuff said.
And for a total change of mood, River’s Edge (1985) starring Toronto’s own rising star Keanu Reeves, Crispin Glover, and Dennis Hooper. A teen in a small rural community commits a murder and tells his friends.The aftermath and loss of innocence are powerful subjects, even if the film is a bit dated.