Baz Luhrmann does not give us a realistic depiction of a realistic light at the end of a realistic dock—he gives us a glimmering pulsing beacon of hope swimming in a sea of darkness.
JoinedMay 28, 2017
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Sheila O’Malley writes film reviews and essays for RogerEbert.com, Capital New York, Fandor, Press Play, Noir of the Week, and The House Next Door. She has performed her one-woman show “74 Facts and One Lie” all over Manhattan, and her first play—July and Half of August—recently had public readings at Theatre Wit in Chicago, and The Vineyard Theatre in New York. She is currently working on her second play, as well as a book about Elvis Presley in Hollywood.
The critical establishment has never truly acknowledged Elvis's gifts as an actor, although his fans know the truth about how wonderful he was onscreen.
Watching Joan Crawford's Myra Hudson fall in love, and then, shatteringly, out of love, is one of the deep pleasures of Sudden Fear.
Despite all of its hilarity and slapstick, Howard Hawks' His Girl Friday has a serious, dark heart.
