Wash Westmoreland
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Filmography
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“The Last of Robin Hood” is more of a character study than a straightforward biography, which means it doesn’t have to get by peddling lurid True Hollywood Stories! (Although one eyebrow-raising factoid it does present is Flynn wanted to play Humbert Humbert in Stanley Kubrick’s “Lolita” on the condition Beverly play Lolita.
Shedlo was the one who drove the star to meet with Stanley Kubrick about playing Humbert Humbert in “Lolita,” an irony almost too good to be true.
We follow Flynn's physical and professional decline while he apparently tries to do right by Woodsey, flying her to Africa to end up cut out of a John Huston film, losing a bid to star in Kubrick's "Lolita" when he insists she be part of the deal, writing a lead role for her in "Cuban Rebel Girls" (in which she's awful) and dictating his will to her while on location.
Flynn's encounter with Stanley Kubrick (Max Casella) over Beverly playing Lolita to his Humbert Humbert in "Lolita" is also very unsatisfying.
There’s even a moment to sort-of back this up, as Flynn takes a meeting with Stanley Kubrick (Max Casella) to pitch Lolita with him in the lead and Beverly as the title temptress.
Flynn strives to build a career for his "protege," going so far as to insist that Stanley Kubrick cast her in Lolita if he wants to secure Flynn's services.
It’s these subtle touches that all make sense when you realize that Colette is produced by Killer Films, which often produces films with queer themes: Todd Haynes’ Carol (and many of his other works), Kimberly Peirce’s Boys Don’t Cry, John Krokidas’ Kill Your Darlings, to name a few.
Backed in part by “Carol” producer Christine Vachon and Killer Films, “Colette” doesn’t shy away from its protagonist’s same-sex attractions; neither does it play her various love affairs for cheap exploitation.
Lejos de la solemnidad del cine académico y del preciosismo del cine de qualité (tiene algunos pasajes que remiten a la filmografía de James Ivory pero luego está más cerca del espíritu de Carol, de Todd Haynes), la historia fluye con ligereza, humor, encanto y, al mismo tiempo, con furia a la hora de exponer los efectos del patriarcado, que tuvo a Colette primero como víctima y luego como implacable cuestionadora.
Black Panther was fit to bursting with selling points, all combining to deliver the studio’s best film: Michael B Jordan’s standout villain, scene-stealing performances from Danai Guria and Letitia Wright, plus the direction of Creed’s Ryan Coogler who proved an inspired appointment.
It’s these subtle touches that all make sense when you realize that Colette is produced by Killer Films, which often produces films with queer themes: Todd Haynes’ Carol (and many of his other works), Kimberly Peirce’s Boys Don’t Cry, John Krokidas’ Kill Your Darlings, to name a few.
Typically eye-catching costume design by Andrea Flesch (who did such striking work on Peter Strickland’s The Duke of Burgundy ) add to the film’s appeal, as does the astute casting of supporting players Rebecca Root and Jake Graf, and the sharp use of locations in the UK and Hungary, which double handsomely for France.