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Marsha Stephanie Blake logs onto the Zoom call looking like a million bucks. It’s noon on a weekday in December and the “I’m Your Woman” actress is calling from New York, where among other things this year she’s celebrated virtual movie premieres, attended protests, sewed masks for essential workers, campaigned to get out the vote and filmed a Netflix show inside her home with her family during the pandemic.
In such an unprecedented year, multitasking has been a big part of Blake’s life. “I was getting all dressed up because I have to tape an audition,” she explains with a laugh. “Normally just to talk to you I would not look like this. I would look like I’m in remote school all day long, with a first grader!”
‘I’m Your Woman’ drapes middling narrative in good old-fashioned style
Amazon Studios/Courtesy
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Grade: 2.5/5.0
“I’m Your Woman” should first be praised for the impressive amount of mileage it gets out of its strengths. Director Julia Hart’s meticulous eye, Rachel Brosnahan’s sharp brilliance and a long overdue ‘70s crime-thriller genre subversion all draw audience attention well into the second act. Unfortunately, the film loses that excitement and overindulges in a plain narrative, but it still deserves a watch.
The first sign of danger could have been the opening narration, which Brosnahan’s Jean reads, inexplicably in the third person, with a foreboding dispassion. It’s simple to a fault, read over a black screen declaring with sleek style that the following events will be interesting.
Most gangster movies make audience members accessories after the fact. The viewer stands witness to a string of crimes committed by the filmâs primary character, whether itâs the head honcho â such as Vito Corleone in âThe Godfatherâ â or some ambitious underling who is eager to make his bones and move up in the ranks. The viewer, in fact, often sees more than the supporting actors, since most gangsters keep their family members in the dark about their criminal enterprises â at least, according to Hollywood.
That motif is best illustrated in the final scene of âThe Godfatherâ when Michael Corleone, having lied to his wife Kay about his involvement in his brother-in-lawâs death, is surrounded by his three capos, each showing their loyalty by kissing his hand â and the door to his room slowly closes, leaving Kay standing alone in the hallway. Her eyes reflect her silent epiphany: She knows the truth, but she must act as though she
As the US remains in the extraordinary position of having a President who refuses to acknowledge he hasn’t been re-elected, and who continues to encourage those who agitate for a populist coup, we often seem on the brink of political violence Americans are accustomed to seeing only in “banana republics,” or other nations we routinely dismiss as corrupt and backward. That violence did not explode as feared around Election Day, when the Electoral College certified its results, or when the Supreme Court shot down yet another bogus challenge from Team Trump. But who knows what January will bring?
Two new documentaries highlight the kinds of scenarios abroad that no longer seem quite so unimaginable in the “land of the free.” They highlight instances in which jail or outright assassination is the price for whistle-blowing, human rights advocacy, or investigating the crimes of an elite. Jeff Kaufman’s