{"id":405,"date":"2020-12-24T13:26:17","date_gmt":"2020-12-24T13:26:17","guid":{"rendered":"https:\/\/cherscholar.com\/cherblog\/moonstruck-for-christmas\/"},"modified":"2023-02-20T08:12:02","modified_gmt":"2023-02-20T15:12:02","slug":"moonstruck-for-christmas","status":"publish","type":"post","link":"https:\/\/cherscholar.com\/cherblog\/2020\/12\/moonstruck-for-christmas\/","title":{"rendered":"Moonstruck for Christmas"},"content":{"rendered":"

\"Moonstruck\"<\/a>Oy vey. Good grief. All the things.<\/p>\n

I feel like I've been living in a funhouse for the last month and a half. Some of the scenes have been a complete nightmare (like the Trumpers post election still denying covid, the day when we thought we were losing my mother for good) and other things amazingly good, (like being home with my parents for Christmas today). But by the end of it, I'm not sure I'm the same person anymore.<\/p>\n

My elderly parents both came down with Covid-19 in mid-November and have been in the hospital literally on death's door (more so for my mother with her breathing ailments).  Thankfully, miraculously they both made it back home in Ohio and are slowly on the mend. I'm now in the Cleveland area helping them out. <\/p>\n

So I've missed pretty much all the Cher stuff. Which has been quite a few things I will need to catch up on in the coming months: the Cher tour cancelled, Cher on The Late Late Show, <\/em>the "Stop Crying Your Heart Out" video, all the Kaavan stuff,  the bobble-head movie, all the press interviews, the scam gargoyle I got on eBay in a moment of weakness, a piece that was purportedly a Sanctuary item but is nowhere in the catalogs and is assuredly nothing Cher would have in there. All the things.<\/p>\n

But I didn't want to let Christmas go by without a Moonstruck <\/em>post. It's been such a success this year.<\/p>\n

<\/p>\n

Moonstruck<\/em> has turned out to be quite the non-holiday Christmas holiday movie. For a movie from 1988, it's been on people's minds all year, partly due to Covid's shut-in blues and partly due to the new Criterion restoration and re-release on Blu-Ray this Novembre.<\/p>\n

\"Olympia\"<\/a>Way back in April 3, 2020, there was \u201cThe Most Enjoyable Image I Can Think of Right Now is Cher Kicking a Can\u201d by Alison Willmore in Vulture<\/a>.<\/strong><\/p>\n

She loves the movie \u201cbeyond its general rom-com hall-of-fame excellence\u201d because of \u201cits dedication to making romance look decadent. Romance, in Moonstruck<\/em>, is the emotional equivalent of digging into a chocolate cake for the sheer, gluttonous deliciousness of it, calories and future stomachaches be damned. It\u2019s unapologetic about its big passions, which, it allows, can look silly, and which can be destructive, and which are never less validly felt for any it.\u201d<\/p>\n

She calls Loretta\u2019s relationship with \u201cJohnny Cammareri, played with wonderful schmuckiness by the late Danny Aiello\u201d as having \u201csuch an embalmed corpse of a relationship.\u201d  <\/p>\n

Nicolas \u201cCage was at a point in his career in which he was balanced right on the edge between allure and absurdity, which makes him perfect for the role.\u201d<\/p>\n

Then she talks about the can kicking scene:<\/p>\n

\u201cLoretta is heading home alone in the morning along the Columbia Waterfront, kicking a beer can down the street. It\u2019s barely a scene, really, more of an interstitial between the clinching crescendo of the night out and the familial breakfast confrontation that\u2019s about to come. Yet somehow it feels like the most luxurious slice of the film, this walk of non-shame. Loretta\u2019s still in her Lincoln Center\u2013ready finery, having given in to Ronny\u2019s fervid plea the evening before and gone home with him once again. She\u2019s left her lover listening to his favorite aria, one he turns up right before the movie cuts to her, as though knowing she\u2019d need adequately opulent accompaniment for the shot that follows. And there she comes around the corner, swanning down the sidewalk in no particular hurry, Manhattan laid out behind her as a backdrop."<\/em><\/p>\n

[I love that word, swanning.]<\/p>\n

"It\u2019s an image that\u2019s so pleasurable it feels almost demented, this interlude with a character who\u2019s just blown up her staid, orderly life in an uncharacteristically grandiose way. The camera takes a second to close in on her red glitter pumps as she steps down the empty street, idly punting a piece of trash along the pavement. The whimsical playfulness of what she\u2019s doing is a part of the scene\u2019s appeal, but there\u2019s also the expression on Cher\u2019s face, one that wants and tries to be contemplative but that keeps slipping into something closer to satisfaction despite itself. It\u2019s the look of someone who\u2019s done something that she suspects might turn out to have been dumb, but that in the moment she can\u2019t stop privately smiling about. Loretta\u2019s walking down the same familiar blocks that have always been there, but it\u2019s clear that everything looks bright and new to her. It looks new to us, too, maybe because the film\u2019s cozy corner of Brooklyn Heights hasn\u2019t been shot from this particular angle yet. Suddenly it seems cracked open, the whole city, with all its million other stories unfolding behind it, always there but never shown this way before."<\/em><\/p>\n

She calls the movie \u201c\u2026truly transporting comfort viewing in times of stress\u201d and talks about her particular experience with covid-isolation and the quiet NYC mornings she misses:<\/p>\n

\u201cThe longer you live in New York, the more quiet mornings like that you can accrue\u2026. it can be so lovely out when most everyone else is still asleep. Being shut up inside leads you to start missing people, inevitably, and bustle and noise and contact. But what I hadn\u2019t expected to miss so much was the possibility of the city, delivered in such a concentrated dose in those images onscreen. There\u2019s the possibility that you could wander your way back to your doorstep, or you could keep going, and see what\u2019s waiting around the next corner, and the next one.\u201d<\/em><\/p>\n

This is a great piece, worthy of a full read. It\u2019s part of a series where Willmore also discusses the movies Casino<\/em>, Citizen Kane<\/em> and When Harry Met Sally<\/em>.<\/p>\n

\"Loretta\"<\/a>In Nov 17, 2020 there was \u201cWhy \u2018Moonstruck\u2019 is the Movie We Need Right Now\u201d by Moira Macdonald in The Seattle Times<\/a>.<\/strong><\/p>\n

Macdonald talks about how unusual this rom-com is to be taking place in a bleak November, \u201cgray and cold\u201d and \u201ceverybody\u2019s shivering.\u201d \u201cIt\u2019s not a hopeful setting\u201d she says. She talks about the \u201cremarkable ensemble cast\u201d and how this has \u201clong been my go-to movie when things seem dark.\u201d She talks about the \u201ccharms of Moonstruck\u201d including \u201can exquisite Cher and an absurdly young Nicolas Cage.\u201d<\/p>\n

Again she mentions the can kicking scene,<\/p>\n

\u201cthe movie\u2019s loveliest scene, Loretta, a Cinderella after the ball\u2026.The music\u2014ethereal, longing, celestial\u2014seems to float around her; you know that she\u2019s hearing it, reliving it, changed by it. Into her mother\u2019s kitchen she sweeps, whirling to the music only she\u2014and we\u2014can hear, letting herself gently fall back down to earth. (Earth arrives quickly: \u201cWhat the hell happened to you?\u201d barks Rose.)\u201d<\/em><\/p>\n

She also calls the final scene \u201ca small masterpiece of comedy\u201d including everyone\u2019s funny, repeatable lines.<\/p>\n

\u201cThe film is full of rich detail, such a s the way the Castorini home looks like it hasn\u2019t been updated since Rose and Cosmo were newlyweds, the way that moon lights up every corner\u2026.everyone we meet\u2026.seems to have a story; Jewson and Shanley\u2026.create a warm, welcoming world.\u201d<\/em><\/p>\n

This is also a series where Macdonald talks about the movies Sense and Sensibility<\/em>, Mudbound<\/em> and Bull Durham<\/em>.<\/p>\n

\"Champaigne\"<\/a>Then we had Emily VanDerWerff\u2019s<\/strong> own essay in the Blu-Ray (November 19, 2020) \u201cMoonstruck: Life in the In-Between\u201d from Criterion<\/a>.<\/strong><\/p>\n

VanDerWerff comes to Moonstruck<\/em> with a new transgendered perspective and talks about the power of Cher\u2019s makeover scene, how she\u2019s making herself over for herself alone at home and not for Johnny Cammareri\u2019s benefit. She\u2019s pleased with herself before her lover ever sees her.<\/p>\n

\u201cShe transforms alone. Unlike in most other makeover sequences, there is no one else present to appreciate how beautiful she has become. She sees herself in the mirror, and she seems free of the shackles of expectation, superstition, and routine that have defined her life so far.\u201d<\/em><\/p>\n

VanDerWerff also talks about Cher\u2019s iconic status and how that affects the film:<\/p>\n

\u201c…her downplayed, earthy beauty is meant to stand in contrast to what we know of Cher, the woman playing her\u2014famous for her love of brazenly unusual red-carpet fashions, and for her outsize personality.\u201d<\/em><\/p>\n

Later VanDerWerff says,<\/p>\n

\u201cWhen he had performers game to explore larger-than-life characters, Jewison could be one of the best actors\u2019 directors Hollywood ever produced. His work with Cher and Cage is of note here. Cher, at the time, was known for her bigness. True, she had been nominated for an Oscar in 1984 for a lower-key performance in Mike Nichols\u2019s <\/em>Silkwood, and her work in Peter Bogdanovich\u2019s 1985 film <\/em>Mask is similarly down-to-earth. (If you say nothing else about Cher\u2019s acting career, you can at least say that she tended to work with amazing directors.) But the biggest hit she had appeared in before <\/em>Moonstruck was another 1987 film, George Miller\u2019s <\/em>The Witches of Eastwick, in which she plays a sexy, glamorous witch who is far more in keeping with her offscreen persona as an over-the-top diva with a huge appetite for life.<\/em><\/p>\n

On the surface, the beginning of <\/em>Moonstruck offers an example of what some call deglamming. Cher\u2019s unusual and potent beauty is muted, and costume designer Theoni V. Aldredge places her in baggy, nondescript clothing to emphasize Loretta\u2019s supposed dowdiness. What makes the performance work, what makes it so that you never think of it as a gimmick designed to win awards (as deglamming so often is), is the way that Cher\u2019s natural star power shines through everything Loretta does. The character is simply waiting for someone to see her in the right way, so she can shed the ill-fitting costume she wears and become her glamorous self.<\/em><\/p>\n

The ability to use a star\u2019s natural persona in service of a role they would not normally play was one of Jewison\u2019s strengths\u2026\u201d<\/em><\/p>\n

Of Cage, she says, \u201cEvery choice he makes\u2026is a little bit too much\u2026[he] possesses a raw, dangerous energy\u2026[however] Ronny is not a cartoon. He lives operatically and he charges headfirst into the movie\u2019s naturalistic, understated tone in a way that races right past your defenses.\u201d<\/p>\n

She calls Patrick Shanley\u2019s script airtight and<\/p>\n

\u201ca masterpiece of screenwriting\u2026.Shanley came to the film from the stage, and his skill at playwriting shines through here. The scenes are generally long for a screen comedy of the eighties, taking their time to get where they\u2019re going and leaving in all of the air a contemporary film might cut out. \u2026Each individual scene tells its own story, so you become as invested in the offhand meeting between Rose and Perry (Mahoney\u2019s character) as you do the movie\u2019s larger love stories. This quality is also what makes the movie infinitely rewatchable; you can join it at any point, take in a single scene, and walk away with a well-told story."<\/em><\/p>\n

She says the movie is \u201cin love with its characters\u201d and \u201cOpera is a crucial touchstone for the film." She also notices the films many binaries:<\/p>\n

\u201cThe gender roles in Moonstruck are very old-fashioned, defined by a strict sense of what it means to be a man or a woman, with little room in between. The film also draws a distinction between the high-class digs of Manhattan and the working-class Italian American neighborhood of Carroll Gardens in Brooklyn, where Loretta lives.<\/em><\/p>\n

Even David Watkin\u2019s cinematography (some of my favorite in film history) draws sharp contrasts between light and shadow, particularly in the interior scenes.\u201d Also, \u201cThese are people trapped by their own polarities. Things are either right or they are wrong, and luck is either good or bad.\u201d<\/em><\/p>\n

And again, there\u2019s mention of the can kicking:<\/p>\n

\u201cThe sequence that is perhaps the film\u2019s quietest and most beautiful, lit with understated precision by Watkin and featuring Loretta kicking a can down the street as she makes her way home after a passionate night with Ronny, notably takes place at dawn, one of those very liminal realms.\u201d<\/em><\/p>\n

And talks about New York City\u2019s role in the movie, especially Carroll Gardens<\/a>, <\/p>\n

\u201cLikewise, the opera itself becomes a kind of window into another life for Loretta, who falls in love both with the art form and with Ronny seemingly at the same time. Jewison and Shanley structure the film to build to what amount to arias for every character. The dialogue is naturalistic, but in that old-Hollywood way, where everybody is just a bit cleverer than they might be in real life. (They always know just what to say in an argument, at least.) The film is endlessly quotable without ever feeling quippy, and even its most famous line\u2014'\u201cSnap out of it!'\u201d<\/em><\/p>\n

\"Chrissy\"<\/a>Caity Weaver then did a piece called "Cher Everlasting" for the New York Times Magazine<\/a>:<\/strong><\/p>\n

Some notable quotes:<\/p>\n

"As stay-at-home orders began creeping inward from the coasts in March, people were drawn, with tidal force, to 'Moonstruck.' Search data from Google Trends indicate interest in the film remained unusually robust throughout 2020, compared with the waxing and waning search cycles of previous years. In April, New York Magazine\u2019s entertainment website, Vulture, anointed \u201cMoonstruck\u201d the \u201cMorbid Spaghetti Rom-Com We All Need Right Now.\u201d The movie trended on Twitter on a fluke Wednesday in June. By the time summer hit, the Criterion Collection was working to release a digitally restored edition of \u201cMoonstruck\u201d in time for the holidays\u2026. moments of happenstance the movie portrays so enchantingly; without relying on the explicitly supernatural, it conveys a feeling of magic, like sparks cast into winter darkness by a staticky blanket."<\/em><\/p>\n

"The film constructs scenes of normalcy with a fetishist\u2019s care. The semipermeable privacy of a table for two in a crowded restaurant; the afternoon-devouring nature of insignificant errands; the frequent entrances and exits of extended relations\u2026"<\/em><\/p>\n

"The most realistic aspect of all is, improbably, Cher, who slips into the role of Loretta with such quiet efficiency that certain moments \u2014 a scene in which she buys $11.99 worth of Champagne, for instance \u2014 play almost like documentary footage."<\/em><\/p>\n

"To appreciate the scale of the central miracle of this film \u2014 the Loretta Castorini-ty of Cher…<\/em>You see a woman who talks with her hands in a way entirely different from Cher, who also talks with her hands. Loretta\u2019s hands grab her words by the lapel, are centimeters away from strangling them; Cher\u2019s hands run through her words like water. You see a New Yorker the way New Yorkers are in real life: polite until threatened or delayed, unflappable in the face of screaming strangers, brisk, sentimental, assumed to be Italian.<\/em><\/p>\n

The chasm between Loretta and Cher was the point, for her. \u201cDowdy\u201d was not a state of being Cher experienced outside major film productions, where costumers and hair and makeup artists were hired for the unnatural task of dressing Cher down. In an interview published in 1987 in The Los Angeles Times, Cher, from the set of \u201cMoonstruck,\u201d explained that she preferred playing the head-down gray-haired pre-makeover Loretta to the carefree raven-tressed prancing version immortalized on the film\u2019s poster."<\/em><\/p>\n

\u201c'Moonstruck' is a film that never winks at its audience; it seizes them in a firm embrace, kisses them on both cheeks and forces them to sit down and eat something. As a result, people hold back tightly to it, whether they first encountered it in the theater, as a VHS tape, on Hulu or on DVD. Coming across it is like finding a dollar on the sidewalk."<\/em><\/p>\n

The Blu-Ray:<\/strong><\/p>\n

There are also hours of great extras on the Blu-Ray. I don\u2019t have time to highlight everything interesting but there are hours of them including:<\/p>\n

+ Cher talking about the film at an AFT screening double header with Norman Jewison's In the Heat of the Night<\/em>. Leonard Maltin introduces her with some comments about the film, including the fact that the 1980s were not a high mark for RomComs. Cher tells some funny new-to-me stories. She calls Danny Aiello a \u201cbig baby.\u201d She talked about rehearsing with Robert Camilletti and being "the unknown factor." She told a funny story about the cinematographer with narcolepsy. She calls it a "great movie." <\/p>\n

+ There\u2019s some really good, very generous extras with John Patrick Shanley talking about writing, one from July 2020 and an audio interview from 1989. He talks about how his writing education evolved, how the script came to be as a requested vehicle for Sally Field and how it ended up with Norman Jewison. He even breaks down the scripts major influences. He talks about how characters come to be, how you need to give characters room to be or not be the hero. He says neither Cher nor Cage wanted to do the long snow scene. He says he needs to write fast. He starts with the geography of the place and some characters and sees where they want to go. With this movie it was the family house, the neighborhood restaurant, the woman in her mid-30s, the professor. Shanley saw himself in the pragmatic mother and his father in the grandfather.<\/p>\n

+ Cinema scholar Stefano Alertini talking about Puccini's La Boheme<\/em> and the role of opera in the movie and how Puccini was the "father of the modern movie soundtrack." He also talks about the Italian and Italian-American ideas about death and the presence of death in daily life. And the pride of opera for Italian-American immigrants.<\/p>\n

 + A Norman Jewison interview right after the Oscar nominations that year were announced (Moonstruck<\/em> got 6). Some interesting comments about Cher using Moonstruck crew to film a new video "We All Sleep Alone" with choreographer Kenny Ortega. The interviewer is a bit condescending about Cher. Jewison talks about the economics of Oscar nominations and John Huston as his role model. He talks about choosing the cameramen for the story. One of them says, "It's hard to imagine Cher being any hotter" meaning more popular not smoking hot. Jewison talks about her persona and charisma. <\/p>\n

+ Very brief Today Show<\/em> interview with Cher and Nicholas Cage which highlight the outdoor scene at the Met. Cher talks about how comedy is harder than drama. She says because of the spontaneity required. <\/p>\n

+ In the interview with Danny Aeillo, he calls Cher a "gifted actress" and a \u201cgreat person\u201d and has a funny story about them filming the scene though the tunnel to the airport and they both fell asleep. He said behind the scenes, without makeup, she was a different person, nothing like her public persona. He also talked about how nervous he was about doing comedy and how Jewison was the first person to take that chance with him. He called the final kitchen scenes one of the most difficult scenes he's ever done. Like opera and the Italian family, the movie is heightened reality he says, showing arguing as an art.<\/p>\n

+ I feel like I remember the 2006 program "At the Heart of the Italian Family" from the first DVD special release. You can see a funny picture of Cher's glam headshot here. "Cher is called an "extremely realistic grounded actress" with "great beauty and value…anchored to the earth." Cage was called a "tormented" actor. It's also said Cher picked up the Italian accent easily because she was a musician\/singer. Someone calls the kitchen the center of the Italian family, "the table is God," the "heart of the family." Shanley calls Moonstruck<\/em>" the golden pavilion of his magical cities."<\/p>\n

\"Arthouse\"<\/a>+ There\u2019s also a new documentary about the film score by Dick Hyman and how the first viewing didn\u2019t get any laughs because the opening opera music didn\u2019t signal that the movie was a comedy and how all the characters had operatic roles. Cher was the Soprano. Cage was the tenor. Olympia was the contra-alto. The bass baritone was Danny Ailleo and the grandfather was the Greek chorus. Every character has an aria. <\/p>\n

Everyone said Cher was great to work with. <\/p>\n

I'm always surprised this was a hit movie,  because it has an art-house or foreign-film feel. It's why I enjoy it anyway. <\/p>\n

That's all for now. Merry Christmas and Happy Holidays. 2020 WTF.<\/p>\n","protected":false},"excerpt":{"rendered":"

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