Written as part of the weekly blogathon hosted by Wandering Through the Shelves. Come along and join us by picking three movies that fit the week's theme and saying a little something about them!
I'll get straight to the point. There is only one film with a female ensemble that matters, really. Every single one since is just a pale imitation. So let it be known that if you love movies at all, and especially if you love actresses, then you owe it to yourself to watch my first pick.
The rest are good, too, but they're not at all a patch on...
The Women (George Cukor, 1939) Yes, from Hollywood's annus mirabilis comes the greatest all-female ensemble ever assembled, getting to act one of its wittiest screenplays. When Norma Shearer's husband starts sleeping around with that hussy Joan Crawford, she goes out to a ranch in Reno so they can get a divorce.... and once that's done, she comes back to get revenge! The Women is an utter delight from start to finish. The only bad part is picking a favorite: Crawford, whose haughtiness makes it clear she's never anything but the lead in anything? Shearer, the all-too-human anchor who sends all her feelings straight through the screen directly to us? Paulette Goddard, the spitfire Shearer meets in Reno who could go toe-to-toe with any man? Mary Boland, delightful as the many-times divorced Countess who ALMOST puts over that she really does believe in "l'amour! l'amour"? Or the queen bee of fast-talkers, Rosalind Russell, whose gossipy gadfly may just be the true villain of the picture? I can't possibly choose. Can you?
8 Women (François Ozon, 2002) Only some of the greatest actresses in the world come from France, and somehow 90% of those are in this movie (the only biggie I can think of that's missing? Isabelle Adjani). Ozon's classic murder mystery setup (a man is murdered by someone he knows in his mansion in the middle of a snowstorm, everyone else tries to figure out which one of them did it) gets two twists: The first is that all the suspects are women. And what women! Deneuve! Ardant! Huppert! Béart! Darrieux! All cast perfectly to type and clearly having a blast with it. 8 Women is such a blast if only to get to watch these great actresses play off each other. What's that? The other twist? OH. It's a musical. Each of the titular eight women gets a character song to sing when the spotlight of the investigation falls on them. Not all of the ladies are good singers, but it doesn't matter; they know how to cover for their lesser abilities and perform the heck out of them anyway. It's stuff like that that make 8 Women such a joy.
Death Proof (Quentin Tarantino, 2007) BEFORE YOU START! Technically, this is NOT cheating. Yes, Death Proof was originally released as one-half of the Tarantino/Robert Rodriguez collaboration Grindhouse, but it also received a berth of its own at the Cannes Film Festival and was released on DVD as a solo feature (albeit both in a longer cut than in Grindhouse). And I'll be honest, the shorter Grindhouse cut is INFINITELY better than the longer "Director's Cut" version. But either way, Death Proof still has one of the greatest car chases ever committed to film, thanks to the brilliant casting of the great stuntwoman Zoe Bell (Uma Thurman's stuntwoman on Kill Bill) as one of a group of ladies who fall into the clutches of Kurt Russell's maniacal Stuntman Mike, who likes to crash his "death proof" stunt car into cars full of pretty ladies. Russell is at his magnetic best in the role, but it's really all about the two groups of women who fall victim to Mike (including the scorching hot Sidney Tamiia Poitier and Vanessa Ferlito) and who fight back (Bell, Tracie Thoms, and Rosario Dawson). The car chase that takes up almost an entire third of Death Proof is killer, but what's even better is what the ladies do once they catch up to the twisted Mike, the most cleverly edited scene of Tarantino's career, culminating in one of cinema's greatest finale freeze-frames.
