Barbet Schroeder
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Connections, in both directions
As for debut screenwriter Kazan, as the offspring of two award-winning screenwriters (Robin Swicord, The Curious Case of Benjamin Button, and Nicholas Kazan, Reversal of Fortune), she, too, could be challenged by a kind of “second album syndrome” as she struggles to match her parents’ earlier contributions to film.
Her father, Nicholas Kazan, authored the script for Reversal of Fortune .
Her grandfather, the Broadway and Hollywood legend Elia Kazan, directed A Streetcar Named Desire and On the Waterfront; her parents are screenwriters Robin Swicord (Little Women, Memoirs of a Geisha, The Curious Case of Benjamin Button) and Nicholas Kazan (Frances, Patty Hearst, Reversal of Fortune, Matilda).
The scenes of conflict between two women in a confined setting recall several other movies, including Robert Altman’s 3 Women, Barbet Schroeder’s Single White Female (a more melodramatic variant on the same theme), and even Ingmar Bergman’s classic Persona.
Meticulously researched and often highly entertaining, "Bukowski" consists of -- along with archival footage of and interviews with its alternately cantankerous and surprisingly sweet namesake -- newer conversations with some of the writer's celebrity fans, friends and collaborators (e.g., singers Tom Waits and Bono of U2; actors Sean Penn and Harry Dean Stanton; and filmmakers Taylor Hackford and Barbet Schroeder, who made the Bukowski-inspired "Barfly").
But perhaps his most astonishing discovery is a bit of footage shot by the German director Barbet Schroeder, a Bukowski devotee who, while waiting to raise money for his feature version of the Bukowski novel "Barfly" (with Mickey Rourke -- not a very good film, actually), spent much time at the writer's domicile.
Despite citing Bertolucci’s Last Tango in Paris as a tonal touchstone, and nodding cheekily to American Gigolo/Psycho, the result smacks more of Adrian Lyne’s blandly naff 9½ Weeks, the S&M frankness of Barbet Schroeder’s Maîtresse usurped by the archaic softcore of Just Jaeckin’s The Story of O.
A Simple Favor (2018)
Directed by Paul Feig
influenced by Single White Female (1992)
Plot Characters
There’s also more than a dollop of trashy, early 1990s thrillers like The Hand That Rocks the Cradle (1992) and Single White Female (1992).
There are elements of Single White Female to be found in how much she initially copes with Blake Lively’s Emily, and watching her performance, it’s difficult to argue with.
Is Stephanie a dauntless amateur sleuth on her friend's trail or a Single White Female eager to steal Emily's glitzy life?
Sleuthing gives Stephanie a focus – as she blossoms, her wardrobe is more defined and refined, without becoming too Single White Female.
It doesn’t help that Kendrick’s portrayal of Stephanie, in part because the script isn’t ever able to get a handle on her, veers from feeling sincere to being sarcastic to approaching Single White Female status.
From the trailer you would think, this movie is a Single White Female meets Gone Girl type of missing/kidnapping murder mystery and who knows who did it.
El erotismo embotado va hacia atrás, siempre estructural y narrativamente hacia atrás, retrocediendo paulatina y categóricamente en el tiempo, como en todos los filmes de Noé, pues por algo Irreversible fue el modelo insuperado de las segundas ficciones de Arriaga-Iñárritu, por bloques-planos secuencia (en sus inicios) o por largos y sinuosos segmentos reiterativos (como ahora), remontándose a los orígenes de la trama, hasta llegar virtualmente a su semilla: el inolvidable primer encuentro idealizado Murphy-Electra, pero también va simbólica, moral, ética e intelectualmente hacia atrás en la evolución de las costumbres sensuales, retrogradándose y retrogradando al auditorio, ya que la ficción, partiendo del visceral desdén ilustrado a cualquier relación doméstica-domesticada tradicional o clásica o absoluta según Jung o constructora de la libertad del otro a lo Sartre, condena de antemano cualquier búsqueda de otras formas de expresión sexual, abocándolas al fracaso, fundiéndolas y co…
The switch in vocal intensity and her incredible physical contortions (and those rubbery facial expressions) earn her a spot in the loopy ladies of terror “hall of fame”, right next to Glen Close as Alex of FATAL ATTRACTION and Jennifer Jason Leigh’s Hedy in SINGLE WHITE FEMALE.
Schroeder could have taken some useful lessons from Ivan Passer's all but forgotten 1971 movie about junkies, Born to Win. 97 min.
As Jeremy Irons famously says in “Reversal of Fortune,” “You have no idea.”
He carries In the Shadow of the Moon capably, even when the narrative leaps forward years at a time and buries him under an insane hobo beard and Mickey Rourke-in- Barfly grease-mop.
The cinematic sleeping pill features an all-in performance by Joaquin Phoenix as Freddie Quell, a rudderless PTSD-suffering World War II Navy veteran who makes Mickey Rourke’s alcoholic version of Charles Bukowski in “Barfly” seem like a lightweight.
I haven’t seen this much pork up on the silver screen since Mickey Rourke in Barfly .
Later, Caden will fly to Berlin to track down his daughter, Olive (Sadie Goldstein), who's fallen into the clutches of his wife's scary best friend, Maria (Jennifer Jason Leigh, hilariously riffing on the scary-best-friend role she's specialized in ever since Single White Female).
That's the superficial starting point of The Gift, the directorial debut of actor Joel Edgerton, who takes the cuckoo-in-the-nest thriller template – which became ubiquitous in the early '90s with films like Pacific Heights, Unlawful Entry, Single White Female and The Hand That Rocks the Cradle – and, by introducing psychological depth and a streak of social conscience, fashions an intriguing morality tale.
The "platonic friendship" brand of fatal attraction thriller is typically reserved for films with female leads (think Single White Female or The Roommate ), so the "male-on-male" obsession in The Gift is an interesting twist on the formula.
It's also a throwback to the sub-genre sometimes known as the "intimacy thriller", which flourished in the late 1980s and early '90s, the era of Fatal Attraction, Single White Female and Cape Fear.
To describe much more of the plot would be to rob the viewer of one of The Gift’s many pleasures—its constant ability to surprise—but suffice it to say: Edgerton begins by hitting all of the beats familiar to fans of Fatal Attraction, Single White Female and their countless imitators, but it becomes obvious early on that he’s not going to play by their rules.
Schroeder and Müller clearly looked at Fassbinder's Ali: Fear Eats the Soul several times as they plotted out Barfly.
The Assassination of Jesse James by the Coward Robert Ford (2007)
Directed by Andrew Dominik
influenced by Single White Female (1992)
Characters
As played by Casey Affleck in the performance of his career, Ford is less Mr. Smithers from "The Simpsons" and more Jennifer Jason Leigh from "Single White Female".
There's more to come of this story, but attention switches to the meatiest and most memorable part of the triology, with an unrecognizable Mickey Rourke under pounds of makeup - in his best performance since "Barfly" - as Marv, a hulking street tough who goes on a bloody, vengeance-filled rampage after a kindly hooker named Goldie (Jaime King) turns up dead in his bed.
Other celebrated films featuring memorable portrayals of booze hounds such as Harvey (1952), The Verdict (1982), Barfly (1987), Leaving Las Vegas (1995) and House of Sand and Fog (2003) have richly textured drunks — though not of the highly functional kind — and almost always hover on the border of stereotype.
The Girl on the Train (2016)
Directed by Tate Taylor
influenced by Single White Female (1992)
Themes
It's "Rear Window" crossed with a soap opera, a throwback to "Single White Female"-style preposterous thrillers, a light ripoff of satirical psychodrama "Gone Girl" and a lurid slice of faux-forbidden post-ironic exploitationist crap a la "Fifty Shades of Grey."
“Warcraft’s” relationship to the “Lord of the Rings” franchise falls somewhere between hoping to invoke it and wanting to “Single White Female” it.