Hitting Nathaniel with My Best Shot(s) - Angels in America

Having realised that I actually saw the next item on the Film Experience game, I adore it and I even have the good fortune to have the DVD, I'm participating again.

Somebody has already pointed out that it's going to be very difficult to choose one shot from a 6-part miniseries and indeed, the abundance of opportunities made me stick with my favourite scene, otherwise this post would run endlessly.



1) The visuals are stunning throughout the six chapters and I picked this shot from the scene of the Black Angel's descent (Ch6) because it's so visually refreshing while quite surreal and absurd. Much to my surprise, not in an alienating way though.



2) I remember being completely shocked by this shot, for two reasons. First of all, this is the least Emma-Thompson-like character I have ever seen her play and it was very disturbing to watch. In a good way, of course. My second reason is part of the first one as this Angel is a very complex character, formidable and scary, not anything at all I would have expected an angel to be. Although that's not all she is, as it later turns out; I really love this cleverly written and sophisticated character.



3) I thought it was the expressions of rapidly changing and subtle emotions that would be worth capturing in this scene. Since they are more tangible in motion, I made two montages. I seem to be obsessed with the facial expressions of one particular actress lately, so this exercise was an overindulgence in those. I love how Emma Thompson's face consolidates as turning to Meryl Streep's character, she transfroms from a ferocious creature into the generous, redeeming angel. (That's more like it.) There is relatively little dialogue in this scene but what she can convey through her expressions is remarkable.



I certainly couldn't leave out Meryl Streep, as she is undoubtedly my favourite of the favourites, so I won't miss a chance to post shots from her films (I'm already counting down to The Devil Wears Prada.) I might have needed more pictures to really demonstrate how brilliantly Meryl expresses her complex inner changes with just a glint in her eye or a slight adjustment of her posture, in a nanosecond. The openness that comes forward with the widening of her eyes in the 3rd pic (from L to R) while still being terrified is priceless. Truly inimitable.



5) Finally, I didn't choose what may seem the most obvious shot in this scene, but one after that. Although I was really shocked first when that moment was approaching and fulfilled, the end of it had a more chatartic effect on me at second viewing. (I think it's due to Meryl's recent double acts with Sandra Bullock, Ralph Fiennes and others that resulted in me getting used to that kiss:).) I had never thought about what redemption would be like but it seems quite obviuos that it's a somewhat orgasmic experiece, the culmination of which is shown here, and its aftermath later with the radiating inner peace on Meryl's face is simply brilliant.

This scene was the most unexpected and memorable for me, there is so much going on inside each character's mind and soul that is represented only visually, and it even manages to be funny at some points. Love it.

Hitting Nathaniel with My Best Shot(s)

This time in English, as I managed to make the screen shots from Showgirls for the filmexperience game.

Quite typically of me, I couldn't pick just one shot. They are in chronological order.

1) I hope it doesn't sound shallow - since in the majority of screen time we see clothesless (is that a word?) bodies anyway - but I have to start with a tribute to Gina Gershon's perfect bone structure.


This may seem irrelevant, though slightly less so with this piece. I can never stop being amazed by such devine masterpieces of nature. IMO, the aestethics of the human body account significantly for the effect of a dance performance, so it may be just part of being fascinated by the art of it. It's just unbelieveable how a woman can look so aesthetically perfect, so more superior to anyone with the help of medical professionals:).

2) Another mention of the "superficialities". Having been a group dancer myself, I couldn't not include this shot about the elaborate make-up and hair for the "show-in-the-show"s.


I have never seen so much devotion on the part of the make-up and hair department even in films about stage performances. It's, "of course, a complete extravaganza", as Paul Verhoeven puts it, but still, make-up and hair are pitch-perfect and show the specific type of professionalism of the show-biz world and its unforgiveness with regard to any leniency in precision.

3) It may be cliché, but one of the most honest and credible moments of the film is the scene of Nomi eating a burger on a rooftop, looking down on Vegas.


I love the moment when she manages to free herself from her obsession that has backfired on her and gain the position of an outsider, a perspective on not just Vegas but maybe her own life as well. Character development may be sparse in the film, but this can mean that eventually, she will be able to keep (regain?) some of her integrity.

4) Kyle McLachlan says in the making-of that this story is about everybody manipulating everybody, so the relationship between Nomi and Molly is a revelation for me.


This shot so beautifully embodies this relationship, which is in sharp contrast with the overwhelming arrogance, violence and vulgar sexuality of the film. I love that this aspect of Nomi's life is finally not undermined and ultimately serves as her redemption.

5) Last but not least, just because I believe in girlpower, I must add "Showtime" to my favourite shots. Molly and Nomi's friendhip is only complete with the revenge. Here is the ritual of applying body paint before going to war.


Afterwards, something feels right in the universe again.

+1) Without a pic: the "Virsaas" scene is hilarious :):).