We’ve been MIA for a couple of weeks due to various reasons and we’re a little late getting up today (due to the editor spending much of the day in bed fighting a cold) but we’re back now.
“When we settle into her hotel lobby, Heckerling—who has an encyclopedic knowledge of film history—tells me the story of the Jewish cinematographer Karl Freund. When he was living in Berlin in the 1920s, Freund shot two of the most visually iconic German films of all time, F.W. Murnau’s The Last Laugh and Fritz Lang’s Metropolis. He then fled to the United States at the end of the decade, and he spent the final years of his career shooting I Love Lucy, among other projects, for which he designed an innovative lighting setup that some sitcoms still use to this day. Heckerling wonders, though, if someone as entrenched in the glamour of early film as Freund ever could have been satisfied working in the emerging medium of TV. ‘Who knows how he was feeling,’ she says. ‘But I look at IMDb and see what people started doing and where they ended, and you go, well, it’s a different game. And that’s how it’s happening now…. I don’t know,’ she says, speaking as much of herself as Freund. ‘You gotta, like, bob and weave and figure it out.’” Even being one of the most successful women directors of all time hasn’t shielded Amy Heckerling from the sexism of the industry, from producers rejecting scripts because they don’t believe women could have decades-long friendships to her lengthy stay in “director jail” following some ill-fated films. But as Lindsay Zoladz reports, she’s still out their bobbing and weaving.
“Director Michael Curtiz often clashed with Crawford during shooting, complaining that she insisted on glamorizing the woman whose daughter calls her a “common frump.” But the veneer of gentility and obsessive care for her looks that clung to the actress—born into miserable poverty as Lucille LeSueur—perfectly suits Mildred Pierce, who sells cakes and pies out of her kitchen to pay for her daughters’ piano and ballet lessons, even when her husband is out of work. True, Crawford is never quite convincing as an ordinary, downtrodden housewife, but could a woman who builds a chain restaurant empire, makes a fortune, and marries the scion of a fallen old-money clan, all out of desperation to please a snobbish daughter, ever be described as ordinary?” Imogen Sara Smith praises Mildred Pierce as a triumph for Crawford, and as one of several films upending the “false assumption” that noir was inherently misogynist, while the genre was always willing to root for women like Mildred who were ready and willing to work.