Eloise Ross

Looking For Grace ★★★

Eloise Ross
Thursday, 21 January 2016

As with many fine Australian films, Looking For Grace opens with arid, spectacular landscape. Aerial shots of remote two-lane highways highlight expanses of blonde dirt, granite, and shrubbery across the Western Australian wheat belt, where the film was shot on location. These colours are ...

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The first time that I really took notice of Orry-Kelly’s name was when I began researching the 1933 pre-code film Baby Face a number of years ago. I became obsessed with Barbara Stanwyck’s sharp Manhattan business attire, her intricate gloves, and the fur-draped costumes she later wore as a kept woman. That the costumes were, at heart, Australian m ...

Bette Davis once described Hollywood actors as American royalty, a cohort that answered the core human desire to look up to something. Those Hollywood actors who became stars (so named because of the stars in Paramount Pictures’ logo), thus served a purpose not only by acting, but also by representing societal and cultural ideals; not an easy demand, as such ideal ...

The One I Love

Eloise Ross
Thursday, 27 November 2014

From first-time director and screenwriter duo Charlie McDowell and Justin Lader, The One I Love is a film that confronts just how hard it can be to love someone. Sophie (Elisabeth Moss) and Ethan (Mark Duplass) are married and in counselling when their therapist (Ted Danson) suggests that they go on a weekend retreat together, just the two of them. He sends ...

Joseph L. Mankiewicz: The essential iconoclast

Eloise Ross
Wednesday, 15 October 2014

Joseph L. Mankiewicz (1909–93), a screenwriter, producer, and director of films in Hollywood for over forty years, is the latest to receive repertory profile treatment at the 52nd New York Film Festival. Entire-career retrospectives are always interesting events; they are at once a celebration of auteuri ...

Eloise Ross reviews 'The Selected Letters of Elia Kazan'

Eloise Ross
Wednesday, 24 September 2014

‘I get awful intense about these movies I do. I become, in fact, obsessed with them.’ So Elia Kazan (1909–2003) wrote to his daughter in 1957. A workaholic, Kazan was both extremely self-assured and plagued by self-doubt, terrified he would produce mediocrity. He rarely did. As a stage and screen director he achieved remarkable success. Kazan was an egotist, a ...