I only met Judith Crist once, but her career had an enormous role in shaping the world of the movie critics who followed her. She was the first full-time female movie critic for a big American daily newspaper, but set aside her gender: By her success and fame, she created jobs for movie critics where there were none before.
When she went to work for the New York Herald-Tribune in the 1940s, few newspapers had movie critics writing under their own names (the New York Times was an exception). The movie reviews were considered a "house column," farmed out on a film-by-film basis to assorted reporters, who wrote under such punning bylines as "Kate Cameron" (New York Daily News) and "May Tinee" (Chicago Tribune). Crist was fearless, acerbic and merciless--"Hollywood's most hated person," it was said.
She wrote a sensational pan of "Cleopatra," saying Elizabeth Taylor's acting "often rises to fishwife levels.
When she went to work for the New York Herald-Tribune in the 1940s, few newspapers had movie critics writing under their own names (the New York Times was an exception). The movie reviews were considered a "house column," farmed out on a film-by-film basis to assorted reporters, who wrote under such punning bylines as "Kate Cameron" (New York Daily News) and "May Tinee" (Chicago Tribune). Crist was fearless, acerbic and merciless--"Hollywood's most hated person," it was said.
She wrote a sensational pan of "Cleopatra," saying Elizabeth Taylor's acting "often rises to fishwife levels.
- 8/9/2012
- by Roger Ebert
- blogs.suntimes.com/ebert
Oh, Pan Am. Remember that whole promise you made of adventure and escapism and women doing any number of things that didn't involve them fawning over fellas? Boy, did you ever do the exact opposite of those things. Pan Am is hobbling toward the finish line and sometimes I think I'm the only one left cheering it on. Actually, I'm not really cheering anymore. The only reason I'm still standing on the race course is because Christini Ricci and Ashley Greene are going to do some snogging next week, which means I'm going to be writing about it anyway. So, here I am!
Afterellen Bait
Pan Am's run has been disappointing in lots of ways to lots of different people, but I think the most discouraging thing from an Ae Bait perspective is that this show was passing the Bechdel Test every single week for most of its run.
Afterellen Bait
Pan Am's run has been disappointing in lots of ways to lots of different people, but I think the most discouraging thing from an Ae Bait perspective is that this show was passing the Bechdel Test every single week for most of its run.
- 1/10/2012
- by Heather Hogan
- AfterEllen.com
“We’ll Always Have Paris,” the second episode of ABC’s new period drama Pan Am, was an improvement over the first one, though the title is a bit eye-rolling and obvious. It developed all of the characters a bit more and moved some storylines forward, but sadly several problems from the first episode were carried over into this one.
Our story begins with some really badly done FX work of a Pan Am jet flying over Captain Dean Lowery (Mike Vogel, who, for some reason, puts me in mind of David Tennant in several scenes), as he drives in his rather nice convertible. He happens upon Colette (Karine Vanasse), who is standing by the side of the road. He offers her a lift, and the two have a couple briefly cute moment as he lets her drive and she shows that there is perhaps a reason why she doesn’t have a license.
Our story begins with some really badly done FX work of a Pan Am jet flying over Captain Dean Lowery (Mike Vogel, who, for some reason, puts me in mind of David Tennant in several scenes), as he drives in his rather nice convertible. He happens upon Colette (Karine Vanasse), who is standing by the side of the road. He offers her a lift, and the two have a couple briefly cute moment as he lets her drive and she shows that there is perhaps a reason why she doesn’t have a license.
- 10/3/2011
- by Chris Swanson
- Obsessed with Film
There are two shows this fall which are (at least according to what people are saying) hoping to capitalize on the success of Mad Men. Both of them shift the primary focus to women, and ABC's Pan Am is looking to relive the glamour of the glory days of stewardesses.
1963 is a very different world, and we're about to see quite a bit of it with the help of four stewardesses aboard Pan Am's Clipper Majestic. It's a world where these goddesses of the air were better than supermodels, and flying was still something of an event in itself. Held to incredible standards (virtually all of which are now illegal), these women became the most-clothed fantasies the world has ever known.
Maggie Ryan (Christina Ricci) is listed as the "scrapper/realist" of the crew (and the most notable name), and though she is attracted to the glamorous life inherent in the job,...
1963 is a very different world, and we're about to see quite a bit of it with the help of four stewardesses aboard Pan Am's Clipper Majestic. It's a world where these goddesses of the air were better than supermodels, and flying was still something of an event in itself. Held to incredible standards (virtually all of which are now illegal), these women became the most-clothed fantasies the world has ever known.
Maggie Ryan (Christina Ricci) is listed as the "scrapper/realist" of the crew (and the most notable name), and though she is attracted to the glamorous life inherent in the job,...
- 9/13/2011
- by Marc Eastman
- AreYouScreening.com
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