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My Old Addiction

Movie Reviews By Bil Antoniou

Category: 1954

June 11, 2019June 12, 2019

Knock On Wood (1954)

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June 1, 2019June 20, 2019

Them! (1954)

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May 18, 2019May 23, 2019

The Silver Chalice (1954)

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May 13, 2019May 15, 2019

Red Garters (1954)

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April 30, 2019May 1, 2019

The High and the Mighty (1954)

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March 24, 2019March 26, 2019

The Glenn Miller Story (1954)

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September 22, 2018March 22, 2019

Senso (1954)

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September 9, 2016September 11, 2018

Rhapsody

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August 8, 2016February 22, 2019

Beau Brummell (1954)

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"I want to go on until they have to shoot me." - Barbara Stanwyck, born July 16, 1907. #BarbaraStanwyck

"In this business, if a girl wants a career, she has to be willing to strip. If you've got a good bod, then why not show it?" - Phoebe Cates, born July 16, 1963. #PhoebeCates

"You've got to stand for something or you'll fall for anything." - Ginger Rogers, born July 16, 1911. #GingerRogers

BEST ACTRESS 1988: Her career began as a toddler in a Coppertone ad, as a pre-teen she was the star of a number of Disney films and earned her first Oscar nomination for playing a child prostitute in Scorsese's Taxi Driver. In the eighties she gave acting a break to attend Yale, her hopes of achieving anonymity destroyed when her name was linked to a presidential assassination attempt that then saw her being accompanied to her classes by bodyguards. By the late eighties, JODIE FOSTER wasn't sure if she still wanted to continue acting, so she picked a challenging project that had little box office appeal and decided that it would be the test of whether or not she would continue in the profession. The result was THE ACCUSED, a sobering courtroom drama in which she plays a young woman who is raped by a group of men in the back room of a bar who are egged on by the guys watching, then is further degraded by her lawyer's cutting a weak deal with the perpetrators to ensure a conviction. In the role, Foster is perfectly no frills, she plays the character's terror and anger with a purity that makes her performance very poignant, leaving behind the charm of performances like Freaky Friday and immediately proving herself a fearless actor (plus I can never see jeans and high-heeled pumps without thinking about this movie, or pinball for that matter). As a film it still works, and touches on issues we're still grappling with on an international level post #MeToo, about victimhood, victim blaming and culpability, wisely avoiding the possibility of cheap TV-movie trappings by making a case about the complicity of the crowd who stood by and watched it happen and not just the men who actually raped her. All this said, though, I can't help but agree with Michael Gebert when he said the Academy voted more for the issue than the performance, and that they were a bit too impressed that a Yale graduate was playing white trash.

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