If much of Fonda’s life both before and after Klute was marked by losses of her own identity as she attempted to mold herself into whatever the dominant man in her life wanted, Klute captures a rare and specific transitional moment.
PositionAssociate Editor
JoinedSeptember 3, 2019
Articles9
Carrie Courogen is an Associate Editor at Bright Wall/Dark Room. Her work has appeared in publications like NPR, Pitchfork, Vanity Fair, and many more. She is currently working on a biography of Elaine May for St. Martin's Press, and on a quest to introduce all of her friends to Ishtar (current count: 8).
When I watch Harry and Sally stroll through Central Park, I think to myself, If I could just find a way to crawl inside this movie, inside this version of New York, I could be okay.
In allowing room for all the angles that motivate Amy, Enlightened asks us to consider the things that drive us, and ask ourselves: Do they make our fight any less valid if our hearts are in the right place?
Where in previous summers Paul Simon’s Concert in the Park was a gleeful way to keep post-concert blues at bay between shows, now it’s a constant battle to try not to cry while listening to it.
On Judy Berlin (1999) and Madeline Kahn's best, most nuanced, and final performance.
Mike Nichols' Working Girl, at its heart, is a film that examines the nuances of the intersection of class and feminism, packaged slyly in the form of a light-hearted, girl power-flavored workplace comedy.
Book Club plants itself firmly in a chaotic-good alignment chart position, full of well-meaning spirit that occasionally goes completely off the rails.
Actress and director Lee Grant reflects on her 70 year career in Hollywood.
I love difficult women. I like ladies who talk back with abandon, the ones who don’t give in without a fight, the headstrong, selfish broads with hearts of gold.