DID YOU READ

Shelf Life: Jane Fonda’s “Barbarella”

Jane Fonda in Barbarella

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One of the great things about revisiting movies that you love – or even if you don’t – is seeing how your appreciation either converges or diverges from their technical merits. Moviewatching is a purely intuitive experience, no matter how much one knows about the technique required to actually create and assemble a film, and ultimately there are probably just as many expertly-constructed movies that are crap as there are clumsily-engineered ones that leave you devastated.

All of which brings me to “Barbarella.” For myriad reasons, including Roger Vadim’s legendary prowess with beautiful actresses, Jane Fonda’s effortless combination of sensuality and naivete and just the idea of a goofy sexed-up sci-fi movie, it’s always been one of my favorites. But is it well put-together? Perhaps not. But this week’s “Shelf Life” intends to bridge that divide between well-made and enjoyable and figure out if one trumps the other.


The Facts

Released October 18, 1968, “Barbarella” was a decidedly mixed success. Although it maintains a 74 percent fresh rating on Rotten Tomatoes, the film earned a lot of pans from major publications such as Variety. Its grosses are unavailable but the film cost approximately $9 million, and ended up bringing in $5.5 million in rentals domestically. Although the film received few awards, Fonda was recognized with a nomination for Female Comedy Performance at the Laurel Awards.


What Still Works

It isn’t meant as a backhanded compliment or a pass of any kind, but “Barbarella” is about the best kind of brainless fun you can have as a moviegoer. From its iconic opening credits sequence to its finale, the film is a visual marvel, even when the technology used to achieve those visuals occasionally lacks the kind of authenticity we associate with great special effects. Vadim’s grasp on the material’s tongue-in-cheek tone is effortless and yet assured, and he allows those set pieces and the sets themselves to have a kind of camp that winks at the audience and then dares them not to embrace it anyway.

As Barbarella, Fonda is absolutely magical. There’s a perfect kind of innocence to her performance that makes the character never seem to be exploited or exploitable – she’s nude, she finds herself in sexual misadventures, but she is less a victim than simply naively complicit in the fun. It certainly doesn’t hurt that Fonda is fearless in her body and soul-baring, by which I mean she leaps with both feet into the role and never lets us know she’s in on the joke – which makes it that much funnier. But there are few actresses today who could pull off that kind of pure sensuality and absolute obliviousness to precisely how alluring they are, and Fonda consequently becomes a sort of iconic performer for what she pulls off here.

As Dildano, David Hemmings is the film’s MVP, mostly because he knows exactly how to play this campy material and just makes it work so beautifully. His “hand sex” scene with Barbarella is a comic marvel, augmented by some cinematic sleight of hand, but it’s his sleepy-eyed consummation that makes it genuinely hilarious. Meanwhile, John Philip Law is perfectly humorless as the statuesque Pygar, and while his performance isn’t “good” per se, he provides the right profile for his character and never lets up on trying to make him a pure and beautiful creature.

As indicated above, the sets and production design are all a little bit cheap, to say the least, and scarcely hold up today as solid examples of good special effects. But it’s that cardboard flimsiness that also sort of sells the universe as a whole, because there are few flourishes that transcend the technical or conceptual complexity of the inflated plastic bags or conspicuous miniatures that make up the majority of the production design.


What Doesn’t Work

Well, it’s just not a well-made or well-told movie. The plot is flimsy to say the least, and even though the set pieces are rich in entertainment value, they hold together with a clothesline’s sense of cohesion. As indicated above the special effects really skirt the line between cheap-charming and just cheap, and it’s entirely reasonable to be too distracted by how bad they are to be able to enjoy the movie. (It doesn’t help that so many of the designs are very indistinct, so there’s not even a sort of conceptual appeal that maybe wasn’t quite executed strongly.) Moreover, while Barbarella is an icon, she’s not much of an agent of her own destiny, and she frequently makes clumsy mistakes or otherwise gets herself into trouble that someone else has to get her out of – unfortunately, usually a man.


The Verdict

Cheesy but charming, “Barbarella” holds up – albeit primarily if you already love the film and have enough of a sweet tooth to appreciate its empty calories. There’s nothing especially unique or original here, but the characters are all fun and interesting, whether or not the film utilizes them well, and what happens manages to be mostly engaging if again it’s not especially cohesive. Ultimately, Fonda’s so great as Barbarella that most of those shortcomings become irrelevant. But it’s certainly a film whose appeal is linked to a personal connection with the performers or the material rather than the way in which it’s been executed. Regardless, however, the new Blu-ray looks absolutely gorgeous – Fonda’s naughty bits have never been clearer – so love it or hate it, there’s never been a better reason to watch it.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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