Double Vision: Passion, Fashion, and The September Issue
Later, a trip to Paris reignites the inner fire that looked to be extinguished. In a film full of flash and fashion, and pretty pictures, it’s this section that shows the inner beauty, particularly as Coddington overlooks the gardens at Versailles, an inspiring perspective emerges: “You have to go charging ahead, you can’t stay behind.”
And isn’t that what fashion, and life, is all about. The September Issue is a glimpse into the glamour, but more so it’s in-depth insight into the relentless passion it takes to create, and the frustration that can happen along the (run)way.
The September Issue cinematographer: Robert Richman.
Gotta Have Fate
Co-crafting the sax-drenched power ballad, “Careless Whisper,” continuing into the Make It Big album (“Wake Me Up Before You Go-Go”; “Everything She Wants”; “Freedom”) and their final, Music from the Edge of Heaven (“Last Christmas”; “I’m Your Man”; “Where Did Your Heart Go?”), both traveled down the same creative pop-music path, only for them to hit the proverbial fork in the road, with personal goals and professional roles shifting as they achieved international success. Watching the documentary through the lens of loss, and letting go in life, adds further emotional resonance to what is essentially a story of unconditional love between friends, with one who must selflessly accept what is, so the other can become who he was destined to be.
Go-go watch it if you haven’t.
Five for Pride
With Pride Month in June, there’s no better time to revisit, or maybe discover, some of the best arts and entertainment under the rainbow. From dance-club bangers and groundbreaking series to heartwarming rom-coms and poignant documentaries, and more, there’s no shortage of material that speaks, and sings, to the LGBTQ+ experience. Here are five for Pride:
As this six-episode series progresses, the characters’ lives become intertwined, with the series taking on a mysterious, even at times a mystical, tone, with hints of Hitchcock’s Vertigo referenced throughout. Most importantly, the series serves as a love letter to the free-spirited (gay) oasis known as 1970’s San Francisco. Maupin penned several Tales of the City novels, with three additional limited TV series airing over the decades. The original, in particular, remains a clever, comforting celebration of “chosen family” at its finest.
(Erin Hamilton—Carol Burnett’s daughter—sings the former; Jessica Williams the latter); the instrumental “Trick of Fate/Enter You” plays over a pivotal moment between Gabriel and Mark, sure to induce a googly-eyed sigh. Trick is a testament to kismet, and all the promise and possibility that can unfold when you take your time in life and love.
What makes the series so profound is hearing Warhol narrate some of his diary entries, achieved by the use of an AI voiceover program. In his deadpan delivery, Warhol not only shares the mundane moments, but goes deeper to express various insecurities, and later his worries about the AIDS crises in the early ‘80s. It’s those vulnerable revelations that allow the series to become an insightful, poignant portrait.
In one such flashback, we see both in domestic bliss, lounging together on opposite sides of a couch, reading, and listening to a record, their two dogs sleeping next to them. A proponent of living, and finding the beauty, in the moment (the overarching message of the film), Jim unexpectedly expresses how content and complete his life is with George: “What could be better than being tucked up here with you.” Practically every moment in the film is beautifully shot. A Single Man is chic; poetic; the epitome of style meets substance.
In summary, whether you’re a member or an ally of the community, hopefully you’ll be able to incorporate one or some or perhaps all five picks to celebrate during the month, and beyond. Happy Pride!
Platinum Portrayal: Ana de Armas’ Golden Performance in Blonde
Oddly enough, through no fault of her own, it’s de Armas’ performance that’s representative of how disjointed the film really is: simply put, she’s far better than the material that surrounds her. Here are at least five scenes from Blonde where de Armas goes from good to great, displaying a wholehearted commitment to portraying a fictional incarnation of a famous figure, as well as the daunting, almost insurmountable, challenge of playing the most famous female icon in Hollywood history.
In an interview with the SAG-AFTRA Foundation, de Armas’ theorized as to the nature of this complicated relationship: “She really wants to fix Mother. The absent father figure is a problem, but I feel like Mother is the real problem, and what she feels like she has to fix… She thought, if I can find my dad and he comes back, then my mom is gonna be okay, but because I can’t find him, if I’m very, very famous, he can find me. But really it was the mother, you can see that she is trying to fix that, to build that relationship, and it’s obviously… no reaction there, there’s nothing, there’s no feedback, they don’t recognize each other.”
“Secretive; Whispery; Indecent”: Intentional Disconnect in 1961’s The Innocents
More gothic folklore than gruesome gore, Jack Clayton’s beautifully haunting (and hauntingly beautiful) 1961 film, The Innocents is high-art psychological horror. Co-written by William Archibald and Truman Capote, the film is based on the 1898 Henry James story, The Turn of the Screw.
Day or Fright
Throughout the crisp, black-and-white film there are a number of bone-chilling scenes. The manor and its grounds become settings for strange goings-on, ones not solely reserved for the nighttime, when fatigue, shadows and imagination can get the best of someone, but in broad daylight as well, often with others nearby. But what is real, and who is credible? In the film’s first line, a sense of doubt is immediately placed upon the viewer toward Miss Giddens, when the children’s uncle asks her during the interview for the governess position: “Do you have an imagination?” An almost embarrassed Giddens replies with a yes. As the film progresses: To believe or not to believe her, that becomes the subsequent question in the viewer’s mind.
Depth of Fear
Brother and Sinister
And the horrors continue through the film’s dizzying conclusion (or disturbing connection to its beginning, as described earlier), one that is both spine-tingling and heavyhearted, where the secretive becomes communicative, the whispery reaches its crescendo, the indecent once again innocent.
Bundle Up: Four Films for Fall
For many of us, skies are still blue and temps are still warm. So it may be hard to get into fall-season feels. But before you know it, nature’s A/C will kick in, and we’ll find ourselves wanting to bundle up under a throw, and get all comfy, cozy, and ready to watch a fall-season flick. Here are four films that are the motion-picture equivalent of a great big hug, ones that make you feel warm, not like on a summer day, but in a warm and fuzzy kind of way:
Screen Time
“I didn’t know who you were with.”
Come on in!
“You’re taking all the caviar?!”
Change of Heart
Nine years prior to You’ve Got Mail, there was Rob Reiner’s When Harry Met Sally… The Nora Ephron-penned screenplay gave new life to the romantic comedy, allowing the viewer to watch the relationship between a man and a woman, the former who believes men and women can’t be friends, develop into just that, and eventually something more. Like summer turning into fall, the film is all about transition: each goes through a major breakup (Harry with Helen, Sally with Joe); the passage of time, complete with changes in fashion and hairstyles; and most significantly, time, and life lessons, cultivate a slightly more mature Harry, and a slightly less persnickety Sally. No one is completely transformed, but each undergoes a change of heart, entertaining the notion of letting someone in, not just someone new, but someone drastically different.
“Well sometimes I vary it a little.”
“And I started to cry.”
“I love that it takes you an hour and a half to order a sandwich.”
Shue In
This next movie may not immediately conjure up images of autumn, or New York in the fall, but Chris Columbus’ Adventures in Babysitting has that fall-season state of mind. The 1987 comedy is set partially in the Chicago suburbs, and Columbus once again captures crisp, upper-middle-class living, suddenly turned upside down (a theme he would continue to explore in 1990’s Home Alone and 1994’s Mrs. Doubtfire).
Shue’s Chris Parker is the anti-Ferris, an underrated heroine of the ‘80s teen-comedy genre.
The adventure begins.
“You want some orange?”
Mama Drama
Chris Columbus’ films showing the family structure in disarray still managed to have a comedic tone; Mrs. Doubtfire the prime example of this, as it tackled divorce, and what happens when a parent is replaced by someone who not only fills the void, but seemingly fills the position better. In 1998’s Stepmom, Columbus continued with the theme of divorce and parental replacement, but added more turmoil and tears.
“You guessed the wrong secret.”
“Are you dying?”
“Not today!”
So when that autumn chill begins to fill the air, get comfy on the couch with one, or all four, of these fall-inspired flicks. Which one will you bundle up with first?
Coppola Mechanism: Francis and Sofia’s Different Portrayals of Loneliness
Coppola’s still-relevant script touches upon themes of technological obsession, voyeurism and paranoia, and its last scene is solemn and unsettling. Slow-jazz saxophone plays over the scene, a disturbingly serene choice to show someone peacefully succumbing to the (literal) mess one has made of his life. While Harry keeps human interaction and emotional involvement at a literal faraway distance, there’s a character in another Coppola creation who wants to intentionally connect with others, but first, with herself.
Although both films are almost 30 years apart, Francis and Sofia show characters who are achingly lonely, yet the main difference is that one feels he deserves to be, the others are desperately trying not to be.
The Conversation: Paramount Pictures; Lost In Translation: Focus Features.
Time Passages: Musical Signposts in Paul Thomas Anderson’s Boogie Nights
Soundtrack on Capitol Records.
Double Trouble: Reflections on Brian De Palma’s Dressed to Kill
Brian De Palma’s Dressed to Kill is his (graphic) homage to Alfred Hitchcock’s 1960 classic, Psycho: Here’s a list of the some of the referential elements:
De Palma’s film incorporates not one, but two shower scenes;
Its female lead, Kate Miller (Angie Dickinson is to Janet Leigh’s Marion Crane; both characters essentially good women “gone bad”) is the “Hitchcock blond”;
Instead of a shower curtain, an elevator door is the temporary barrier that separates victim from killer, safety from harm, life from death;
Nancy Allen (is to Vera Miles) and Keith Gordon (is to John Gavin) step in as crime solvers;
Allen with a “tall blond” behind her and flickering lightning is to Miles with Anthony Perkins and a swinging lightbulb;
A psychiatrist (David Margulies to Simon Oakland) summarizes personality conflict, arousal and the human psyche.
Also take note of duality as a running theme: Spoilers ahead: Besides De Palma’s signature split-screen technique, his script includes a scene where Michael Caine’s Dr. Elliott is on the phone in his office, taking the time to spell out his last name: “E; double l; i; o; double t,” plus there are a number of scenes involving mirrors: Elliot becoming startled when he catches his reflection in a mirror, with another occurrence shown in the trailer below; when Allen’s character, a call girl named Liz, seduces Elliott during a therapy session, he glances down to a mirror on his desk, and smirks devilishly. The audience also learns near the end of the film that there are two “tall blonds,” one with good intentions, the other, as already previously noted.
Although De Palma is certainly influenced by the Master of Suspense, he still manages to add his own visual stamps and a dreamy score by Pino Donaggio to create an enduring film that feels anything but a carbon copy.
The Best of the Worst: Plan 9 From Outer Space
Plan 9 from Outer Space, starring Bela Lugosi, is the 1959 campiest-of-campy “spooky” movie about snippy, snarky extraterrestrials resurrecting the dead on Earth. Who they couldn’t resurrect: Lugosi himself, who had died three years earlier. The director, Ed Wood used footage of Lugosi from another project they worked on earlier together, The Vampire’s Tomb, and a Lugosi lookalike (sort of) when needed.
Tor Johnson and Vampira co-star as slow-moving zombies (28 Days Later or World War Z this is not) and needless to say spend most the movie just walking around aimlessly. It’s good ‘50s fun, and if one is looking to veg out on possibly the best worst movie ever made, this very well could be it. Alien divas and ray guns; hollow graves and hollow acting… sounds like a plan.
Watch “Hitchcock,” and Watch Hitch Watch
The classic film, Psycho recently turned 60. Here’s a review of the 2012 film, Hitchcock:
“Why do they keep looking for new ones, when they still have the original?” Just one of the questions uttered by the true Master of Suspense, Alfred Hitchcock (Anthony Hopkins) in the film, Hitchcock, directed by Sacha Gervasi. Based on Stephen Rebello’s book, Alfred Hitchcock and the Making of Psycho, the film traces the period after North By Northwest. The old adage of “You’re only as good as your last picture” starts to peck at the director, due, in part, to skepticism that Hitch could keep his streak going, especially at age 60.
Looking for his next project, Hitch and his trusted advisors, his wife and professional collaborator, Alma Reville (Helen Mirren) and assistant, Peggy Robertson (Toni Collette) search high and low for something that will stop those bent on looking for a new Master. Hitch discovers Robert Bloch’s book, Psycho, based on the life of the Wisconsin serial killer, Ed Gein. Not only having an appetite for sneaking drink and paté de foie gras, Hitch’s appetite for something unexpected needs satiating, and thus this question is posed to Alma: “What if someone really good made a horror picture?” Against all good sense, according to just about everyone around him—press; studio heads; even an initially reluctant Alma—he persists with the professional and monetary risk that is Psycho. The actress Janet Leigh (Scarlett Johansson) is cast to play the “bird,” Marion “Crane”; the actor Anthony Perkins (James D’Arcy) Norman Bates; the actress Vera Miles (Jessica Biel) Marion Crane’s sister, Lila.
Anthony Hopkins is credible and holds Hitch’s deep, garbled, slow-paced delivery, even saying quite convincingly the classic deadpan salutation, “Good evening,” made famous by Hitch as he welcomed viewers to his television series, “Alfred Hitchcock Presents.” Yet when Hitch, on set, directs Leigh in the scene from Psycho, where Marion is nervously driving her car, Hopkins’ vocal delivery slips, intentionally perhaps? One can’t help but hear the voice of Hannibal Lecter, Hopkins’ definitive role in The Silence of the Lambs.
In Lambs, just as Lecter taunts Agent Starling during their first meeting, mocking in a southern drawl her “pure West Virginia” upbringing, speculating about her father being a “coal miner” and “how quickly the boys found you…sticky fumblings in the backseats of cars…,” Hitch taunts Leigh, calling Marion, “Daddy’s perfect little angel” and making reference to Marion’s “…sticky little lunchtime trysts with that oh-so-handsome failure Mr. Samuel Loomis.” Thankfully, the filmed highway on the screen behind the stunt car skips, causing Hopkins, now vocally back as Hitch, to stop the filming. Hitch then storms behind the blank screen, which casts his iconic silhouette, a self-referential silo added into most of his films.
There’s also another predominant reference throughout Hitchcock. The Director of Photography, Jeff Cronenweth manages to frame shots that present several visual references to birds, creating a sense of foreshadowing to what would become Hitch’s next picture after Psycho, the aptly coined, The Birds.
Note:
Paintings on Hitch and Alma’s bathroom and bedroom walls.
The lampshade in the house library.
A silhouette of a bird over Hitch’s shoulder as he peers out through a set of blinds at Alma and her friend, Whit.
Bird sculptures on a liquor cabinet in Hitch’s studio office.
Birds flying low over the ocean as Alma and Whit talk on the beach.
A reference to birds in this John J. McLaughlin–penned screenplay: Vera Miles was contracted to do one more film for the notoriously involved, “he’s-always-watching” Hitch. As Biel’s Miles is changing in her dressing room, she says: “One more picture and I am free as a bird.”
The relationship between Miles and Hitch is also briefly explored. Hitch all but ignores Miles on set, and we later discover why; his focus is on Leigh, yet another fantasy blond, a style with which the director was famously enamored. Miles goes so far as to offer some cautionary advice to Leigh, after Leigh endures Dr. Lecter’s, I mean, Hitch’s relentless taunting. Hitchcock definitely highlights Hitch’s obsession with his work, and perhaps through speculation and creative license, the viewer is able to see just how consumed—voluntarily or involuntarily—he could be with his subject matter, no matter how dark and sinister. Disappointment by women play out often as well, providing a glimpse into Hitch’s sensitivity to feeling abandoned, so much so, extreme control at any cost was exuded.
On a related note, the film, rightly so, focuses equally on wife/mother figure, Alma, spotlighting how important professional collaboration and personal support are to the birth of a creative project, and in the case of Psycho, how the absence of this union could have easily resulted in something “stillborn.” Together, Master and Mistress of Suspense became the proud parents of, arguably, the best thriller in film history.
The Pop Zeal Project: Sheryl Crow: “Safe and Sound”
In 1997, pop/rock musician, Sheryl Crow sang the theme song to the James Bond film, Tomorrow Never Dies. Unfortunately, the song and the film, separately and as a pairing, failed to create any lasting memories, unlike many that had come before. However, five years later, Crow released her cool, Southern-California-inspired album, C’mon, C’mon, which featured a song entitled, “Safe and Sound.” Now THAT was what “Tomorrow Never Dies” should’ve been.
Granted Bond-film theme songs have varied in style, but there are some core elements that tend to be incorporated, giving the tracks immediate recognition, and, in many cases, help contribute to their longevity. Here’s why “Safe and Sound,” at least musically speaking, works as the Bond theme that never was:
Quieter verses with hints of piano harken to Sheena Easton’s “For Your Eyes Only.” (In a live capacity, Crow has been known to play piano when performing “Safe and Sound.”)
Those pop-ballad verses erupt to a rock-inspired chorus, not unlike Paul McCartney and Wings’ “Live and Let Die.”
As showcased on “Tomorrow Never Dies,” Crow’s vocal range still lends to that impassioned, big-voice quality reminiscent of Shirley Bassey’s work on “Goldfinger” and “Diamonds Are Forever,” and Lulu’s “The Man with the Golden Gun.”
Take a listen, and as the track plays, it’s easy to imagine the classic silhouettes and other artistic imagery featured in Bond-film opening credits. In particular, take note of the climactic crescendo and Crow’s vocal run; both cement the song as soundtrack worthy.
For “Star Wars Day,” Keep Your Ion This Scene
To honor Star Wars day (May the Fourth… be with you), here is one of the best scenes from Episode Five: The Empire Strikes Back. It’s unlikely, but in case you’re not familiar: After the Empire discovers the whereabouts of the rebel base on the ice planet of Hoth, rebel leader, Princess Leia orders alliance members to board transport shuttles in order to evacuate the base. The surface-to-space ion cannon has been set to fire upon the approaching imperial cruisers, allowing the transports to get past the distracted blockade.
Whether you fly your “nerd flag” high or not, keep your ion this scene, which works wonderfully for many reasons:
Its use of ominous orchestral music, followed quickly by the quiet tension in the base, moments before the ion cannon is fired;
The propulsive force of the cannon firing is a stellar example of Star Wars’ effective use of sound in film;
The shift to triumphant orchestral music, reminiscent of ones used in swashbuckler films of the 1940s, starring Errol Flynn;
The celebratory “Hooray!” from the rebel pilots after they learn “the first transport is away,” with Luke Skywalker once again taking on the hero role, the “every man,” leading a band of intergalactic misfits to stop the imperial ground attack;
Lastly, it celebrates a common Star Wars theme: the proverbial David outsmarting Goliath, in order to live (and fight) another day. (Goliath, not just in the form of the Empire, but in the next scene, Luke, piloting his snow speeder, takes down a towering AT-AT walker by wrapping a cable, his slingshot if you will, around its legs, sending it crashing into the snow.)
Dark Passage: Tom Ford’s Nocturnal Animals
Intensity permeates Tom Ford’s chilling 2016 thriller, Nocturnal Animals. Amy Adams stars as Susan, a wealthy L.A. art dealer, who’s married to the handsome Hutton (Armie Hammer). One day she receives a novel written by her ex-husband, Edward (Jake Gyllenhaal). He dedicates the devastating, deeply disturbing novel to her, which causes her, with every turn of the page, to reflect on her past actions (via flashbacks to Susan and Edward at the promising start of their relationship), present (unhappy) situation with Hutton, and her growing dissatisfaction with her career.
As Susan delves deeper, the viewer also sees the “story-within-a-story,” with Ford jolting the viewer back and forth between the sleek, cold confines of Susan’s ritzy home, and the isolated highways and barren backroads of West Texas, including some menacing inhabitants, that serve as the setting for Edward’s horrifying tale.
Although Nocturnal Animals is written and directed by the famous fashion designer, it offers, in part, provocative commentary on substance vs. style, romantic vs. pragmatic, enough vs. more, and sheds light on the harsh consequences when someone is consumed by the latter instead of the former.
Blunt Answers
The latest to reveal responses to Vogue’s insightful “73 Questions,” the delightfully charming, and seriously funny, Emily Blunt returns to the halls of a fashion publication. The actress, whose breakout performance as the snotty, and stressed-out, fashion-magazine assistant, Emily in The Devil Wears Prada, makes a series of references to the film as she walks through the magazine’s New York office:
Emily stating her Starbucks is “a bit cold.” Editor-in-Chief, Miranda (the aforementioned Devil) had a preference for “Starbucks…hot Starbucks.”
“… They’re both so different.” In the film, another assistant holds up two seemingly identical belts for Miranda, and states that they’re both so different, to which Andrea, the fish-out-of water protagonist, scoffs in disbelief.
Seated young woman in the background: Takes on the Andrea role from the belt scene.
Stanley Tucci played Miranda’s right-hand man in the film.
Cerulean: The blue hue that Miranda references in the belt scene.
“That’s all.” Miranda’s frequent, infamously dismissive conclusion to her list of demands, is stated here by Anna Wintour, on whom Miranda is allegedly based.
“Bore someone else with your questions.” Another of Miranda’s dismissive statements in response to one of Andrea’s reasonable inquiries.
By segment’s end, wishing for number 74 from the Mary Poppins actress whose refined voice is as smooth as satin.
Pop Playlist: Sheena Easton: “For Your Eyes Only”
This theme song to the 1981 James Bond film, featured Sheena Easton on vocals and in the opening credits, the only singer to appear as part of these signature, silhouette-heavy sequences. Easton’s vocals are crisp; the song’s verses are soft and seductive, using the classic espionage phrase as a parallel to convey the love, devotion and “fantasy you freed in me/only for you.” By the chorus, Easton lets this classified secret out, only to hide in the shadows of those intentionally softer verses once again, confirming “For Your Eyes Only” as a smartly constructed track. (Other Poptimum picks from this sensational singer: “Morning Train” as sweet pop vocalist, but by mid-’80s steered toward “bad-girl” singer [“Strut”; “Sugar Walls,” written by Prince; “U Got the Look” with Prince].)
Double Duty: Actors Who Sing; Singers Who Act
The latest telling of A Star is Born was released this weekend, starring Bradley Cooper and Lady Gaga. Some actors surprise audiences with their singing chops, while some singers do the same with their acting abilities. Here are a few memorable examples (by no means the only examples):
Actors who sing: Amy Adams (“If I Didn’t Care” from Miss Pettigrew Lives for a Day; as Mary in The Muppets); Zooey Deschanel (lead singer of She & Him); Sissy Spacek and Beverly D’Angelo (as Loretta Lynn and Patsy Cline respectively in Coal Miner’s Daughter); Antonio Banderas (Evita); Hugh Jackman (Les Miserables); Eddie Murphy (Dreamgirls).
Singers who act: Diana Ross (Lady Sings the Blues); “Think” Aretha Franklin in The Blues Brothers; although Cher won an Academy Award for Moonstruck, her heartbreaking performance in Mask comes to mind; Madonna was born to play the lead in Evita and is impressive in the role, especially in The Lament scene; Will Smith, the rapper turned actor in Pursuit of Happyness (spoiler alert below, if you haven’t seen the film).
Neil Simon: The Write Stuff
The playwright and screenwriter, Neil Simon passed away today at the age of 91. Known for his smart, sharp tone, two (of the many) films easily considered required viewing: 1976’s Murder By Death; 1978’s California Suite.
Murder by Death is an homage to classic murder-mystery novels, features characters inspired by famous fictional detectives, gathered together at a creepy manor for dinner and a “lovely murder…” The cast is a collection of greats (David Niven; Alec Guinness; Maggie Smith, as high-society Dora Charleston; basically everyone in the movie). Here, Dick (played by Niven) and Dora arrive, greeted by a blind butler (Guinness). Simon’s witty writing is evident, and at times could be subtle, yet not any less hilarious. The fast-paced delivery only makes the lines even better, with Smith owning a fabulously deadpan punchline:
California Suite features four different stories that take place at a posh Los Angeles hotel. One of which serves as comedic commentary on Hollywood and awards shows, as Maggie Smith (yes, the same Smith) plays Diana Barrie, an English actress nominated for a Best Supporting Actress award, in town for the ceremony. (Smith actually won the Academy Award for Best Supporting Actress for this role.) Every line Smith utters is gold, and the dialogue with Michael Caine is again fast-paced, like watching expert tennis players volley shots over a net. (Also of note: Jane Fonda’s Hannah, a bitter New Yorker visiting her happy-in-California ex-husband to discuss custody arrangements.) But here, Smith’s drunk Barrie returns to her hotel room after a long, disappointing night:
Get Up, Jeanie: Flashdance Scene Takes on Whole New Meaning
With all the figure skating on TV over the last two weeks, couldn’t help but think about 1983’s Flashdance. Jennifer Beals’ Alex, Pittsburgh welder by day, dancer in a bar by night, dreams of a bigger life. So too does Alex’s friend and co-worker, Jeanie, who is a figure skater by day, waitress in a bar by night. One memorable scene (of many) captures the pressure of becoming a professional athlete; the solitude of an ice skater under the spotlight; a reminder of how years of practice and sacrifice can come down to one performance. The scene features Laura Branigan’s 1982 hit, “Gloria”; it’s upbeat, yet it takes on a different tone by scene’s end. The actress, Sunny Johnson, who played Jeanie, passed away at the age of 30, a little over a year after the film’s release, which now only adds to the scene’s already devastating portrayal of potential and possibility never to be fully realized.