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The controversy over the Golden Globes continues. But can the Globes make a comeback? In a new Highbrow Magazine video, longtime Highbrow Magazine writer and respected academic Forrest Hartman discusses the ongoing controversy surrounding the Hollywood Foreign Press Association, and wonders when and how the Golden Globes will regain the respect of the industry.
First released in France in 2009 for F2, TV5, and Jimmy, Ciné Cinéma, the two-part series—95 minutes each part—premiered on July 20, 2021, with English subtitles, on MHZ, a streaming service for foreign and international content. Lorànt Deutsch plays a shrewd but vulnerable Fouquet, Thierry Frémont depicts a power-lunging Colbert, and Sara Giraudeau is the smart and playful, turning heartbroken Marie-Madeline Fouquet.
The biggest laughs and most interesting moments come one after another towards the end of Film Fest. Film Fest shows that making a movie is just the tip of the iceberg for filmmakers and how crazy and seedy the marketing side of the industry can be even at the lower levels of the industry. It also shows the heart of the indie movie scene and how filmmakers will struggle through all the nonsense to see their vision realized.
What’s lesser known is that Sophia’s younger sister, Maria Scicolone, also had beauty and talent. She sang with Frank Sinatra, who asked her to audition for one of his albums with the promise of a sparkling career. In stepped the green-eyed monster of a mother who, evolving into a state of jealousy over Sophia’s success that should have been hers, forced her to turn down the opportunity.
The story doesn’t revolve around potential Armageddon (refreshing since most comic book movies have world-ending stakes these days), and we don’t get cameos from other Avengers. We also don’t get the immense creativity seen in the recent MCU TV series WandaVision, which – by the way – was also a better nod to female empowerment than Captain Marvel. But we do get an enjoyable picture that moves like lightning.
Some have blamed Whedon for the failure of the original film. However, many of the fixes to the film's biggest issues come in the form of the two hours of additional footage. It seems unlikely that Warner Bros. would have approved sending out a four-hour film regardless of which director was behind it. The problem with Justice League was never Whedon or Snyder; the problem was with Warner Bros. itself.
After the cheerful opening it’s not long before the documentary delves into the pain and suffering Moreno felt in her early career. Being typecast as a Native or Polynesian girl despite being Puerto Rican, abused by the Hollywood system, and never having the freedom to just be herself. The documentary does a great job of making you empathize with Moreno and because of that, you feel elated when she talks about how her life and career eventually turned around dramatically.
It also helps that the picture is a musical. When Chu isn’t moving his cast from one beautifully dressed location to another, he is guiding it through some of the most eyepopping musical numbers to hit the screen in years. The splashy (literally) presentation of the tune “96,000” uses Highbridge Pool to great creative effect, with water becoming part of the choreography. This number is so intense that one might draw comparisons to the beautiful traffic jam dance sequence in La La Land.