Christina Ricci started out big, alongside recent Oscar winner Cher, hot young starlet of the moment Winona Ryder, and king of the underrated, Bob Hoskins, in the comedy-drama Mermaids. Her natural cuteness lit up the screen, and so the starmaking role she took in the next years Addams Family showed up her talent for diversity from the off. The class was so clear that in the sequel two years later her role was beefed up and she stole the show, before going on to her first major leading role in the similarly spooky Casper some 2 years later. As the late teens hit, the type of projects she took on took a far more adult and fascinating swerve, from the edgy Opposite of Sex, to fascinating films and working with great filmmakers like in The Ice Storm, Buffalo ’66, Fear and Loathing in Las Vegas and Pecker, collaborations with the likes of Ang Lee, Terry Gilliam, John Waters and Woody Allen putting quite the sheen on the resume. She has also never been above mixing up her indie leanings with more mainstream fare, providing minor voice work in Small Soldiers, starring alongside Johnny Depp in Tim Burton’s Sleepy Hollow, the Wachowski brothers Speed Racer, and appearances on the small screen in shows such as Joey, Ally McBeal and Grey’s Anatomy. However smaller, character driven movies have always been her forte, as the hugely different but always interesting likes of Penelope, Monster and Black Snake Moan have proven. Christina Ricci is constantly proving herself to be one of the most diverse and challenging young leading ladies around.
After an early career on Broadway marked by an acclaimed turn in Robert E. Sherwood’s The Petrified Forest, Bogart made his first impression on screen alongside Leslie Howard (who had to fight for Bogart to be cast) in the screen version of that same play. The role lead to him being typecast, playing gangsters in Warner Bros. B-pictures for the next few years, before in 1941, with the assistance of his good friend John Huston, his time to shine came. Firstly appearing in the Huston scripted High Sierra, then following it up with a superstar making role playing Dashiell Hammett’s Sam Spade in Huston’s directorial debut, The Maltese Falcon. Two years later came Casablanca, the Best Picture Oscar and immortality, before meeting Lauren Bacall in 1944 on Howard Hawks’ Hemingway adaptation of To Have and Have Not. The two shared a sizzling chemistry on screen that carried over into real life and saw them married the next year, before teaming up with Hawks once again to tackle Chandler’s Marlowe in The Big Sleep. Bogart continued bringing his laconic, world weary charm to films like Dark Passage and Key Largo, but it was his work in Huston’s Treasure of the Sierra Madre that probably stands to this day as his finest work, crippled physically by the desert, and mentally by the lure of gold. Superstardom achieved, peer recognition followed in the early 50s, teaming with Huston again, alongside Katharine Hepburn he landed an Oscar as the drunken, grizzled boatman in The African Queen. He continued on strong, The Caine Mutiny, Billy Wilder’s Sabrina, and his final turn as a down on his luck sportswriter alongside Rod Steiger in The Harder they Fall, before, aged 57, falling inevitable victim to his trusty sidekick through the years, the cigarette, he died of lung cancer, the effortless, easy cool diminished and defeated, he weighed just 80 pounds.
Daughter of acclaimed Iranian auteur, Mohsen Makhmalbaf, Samira Makhmalbaf dropped out of school at the age of 15, citing incompetent teachers and started observing her father at work, before attending a film course at private school. There she produced a short drama and documentary, before in 1998, aged just 18, her feature film debut Sib (The Apple) was entered into official competition at the Cannes Film Festival. She followed it up 2 years later with Takhte Siah (Blackboards) another film dealing with the treatment of youth in Iran, in a very different way to her debut. Since then she has produced two more features, dealing with topical issues in Iran for women and children, as well as a short film alongside other international filmmakers like Ken Loach, Sean Penn and Alejandro Gonzalez Inarritu, in a feature about the effects of 9/11 on people around the world. Still aged just 28, she is fast proving herself to be one of the most interesting and socially aware filmmakers around.
On the Waterfront (Elia Kazan, 1954)
In 1952, Elia Kazan gave up to the House Un-American Activities Committee, the names of 8 people within the film industry that alongside himself had been members of of the American Communist Party in the 1930s. Those 8 were quickly blacklisted and had their names removed from all productions of which they had been a part. In 1954, Kazan, along with writer Budd Schulberg and producer Sam Spiegel produced this 8 Oscar winning response. The story of a man who in spite of the warnings of all around him, does what he has to do for his own peace of mind. The film landed Best Picture, and Kazan, his second Best Director Oscar, guiding an impeccable cast through Schulberg’s look at the hard bitten, hard working, down on their luck, New York dock scene. Eva Marie Saint won an Oscar for her debut screen performance, Lee J. Cobb, Karl Malden and Rod Steiger crowded the Best Supporting Actor category, but it was Marlon Brando, coming off the back of 3 successive Best Actor nominations who stole the show as Terry Malloy, the washed up boxer with the soft, feeling soul. It was 4th time lucky for the Omaha native who finally walked away with the big prize, to cap 5 of the best years of production that any actor ever had. Today, despite mulling over its origins, the film still stands tall as a testament to the human spirit, and as an ode to just how much hell it can be to get to heaven