Amy Schumer’s ‘Trainwreck’ is far from a feminist triumph | News Entertainment

Amy Schumer’s ‘Trainwreck’ is far from a feminist triumph

24 Jul 2015 | Author: | No comments yet »

Amy Schumer’s ‘Trainwreck’ is far from a feminist triumph.

Either way, the moral I took from her investigation into dating culture was that when I hit my late 20s, I’ll repent and become the child-hugging, diamond-seeking girl my relatives always wanted.The Princess Diaries actor took a trip to the cinema on Monday to see Schumer’s new comedy Trainwreck, and ended up enjoying the film so much she decided to tell the comedienne, even though she was used as the butt of one of the movie’s jokes.Thanks to her movie debut in this month’s blockbuster Trainwreck – the romantic comedy she wrote based loosely on her hilariously unfortunate dating experiences – and her Emmy-nominated Comedy Central show Inside Amy Schumer, the sweet-faced, potty-mouthed comedian is enjoying a stratospheric rise. “It’s insane!” the 34-year-old New York City native told PEOPLE earlier this year of her breakout success.

In a scene that “It Girl” comic Amy Schumer could love, I am standing in the women’s washroom at a movie theatre, having just finished watching Schumer’s much ballyhooed first movie “Trainwreck,” a lightly filthy rom-com directed by Judd Apatow in which the raunchy commitment phobic heroine Amy sleeps with and discards any man she can get her hands on until she falls for a nice guy.“It’s always: I walk in a room thinking maybe I belong in here,” she says at a Greenwich Village, New York, cafe. “And then I get reminded quickly that I don’t. When it comes to her no-holds-barred brand of comedy, “it doesn’t feel like I’m going out on a ledge,” she said. “I want to be honest about everything.” “I was a little fearful,” says Schumer of writing her dad Gordon’s battle with multiple sclerosis into the comedy’s story line. “It’s a disease a lot of people don’t know anything about but a lot of people have,” says Schumer, who was a kid when he was diagnosed. “I knew I was going to write about my dad and our relationship and how [with MS] you don’t know what’s going to happen – and that’s pretty unfair.” “In 2007 she came in fourth on NBC’s Last Comic Standing reality competition. She can do broad comedies (“Scott Pilgrim vs. the World,” “21 Jump Street”), indie dramas (“The Spectacular Now,” “Short Term 12”) and hold her own alongside some of the biggest names in movies like “The Gambler.” She’s also shown her stuff behind the camera, having written and directed (with Jessie Ennis and Sarah Ramos) the short film “The Arm,” which won a Short Film Special Jury Prize at the Sundance Film Festival in 2012. My two friends and I, lifelong feminists and current Schumer fans, are more than mildly disappointed, not by the plot — we still want a girl to fall madly in love — but by the humour: “You call that feminist cutting edge?” Gradually, as our dissection continues of “Trainwreck,” which Schumer wrote and stars in — “not brave enough,” “peters out at end,” “cheerleaders as the main reveal, really?” — we are joined by an older woman bewildered by all the fuss about Schumer, and two 20-somethings who, it turns out, have a lot to say. “I’m kind of like her,” confesses 26-year-old Georgia.

Don’t pretend like when you win your Oscar — which you could for your brilliant and refreshing writing and/or acting in @TrainwreckMovie — you won’t tote it around to every Oscar party you go to.” And as far as Hathaway is concerned, rumours suggesting talks about a third instalment in the Princess Diaries series were underway began circulating earlier this week. Larson can currently be seen on the bigscreen in the Judd Apatow hit “Trainwreck” as Kim, the younger, yet more mature sister to Amy Schumer’s hard-partying journalist Amy. The role is a family affair, as Schumer’s real-life sister, Kim Caramele, serves as an associate producer on the film, in addition to being a writer-producer-performer on her sister’s hit series “Inside Amy Schumer.” Later this year, Larson will be seen in “Room,” based on Emma Donoghue’s bestseller about a young woman raising a 5-year-old son while in captivity.

As an ambitious, fashion-forward writer at S’nuff magazine, Amy Schumer’s character (also Amy) is Kate Hudson’s character Andie with a slightly more decorated bedpost. In fact, she reminds me of my closest friends, not because of her drug habit or borderline alcoholism, but because of her confidence in herself, by herself. The artiste, who performed at a packed concert on Tuesday night in Manila, was prevented from leaving on a private plane pending clearance by the Bureau of Immigration.

Her humour – satirical, raunchy, absurdist – is built on a fresh and on-point feminism, alert to both the injustices of sexism and the helpless farce of the sexes. He cancelled the concert, because he lost his passport a day before the scheduled event. — During an interview to promote the highly-anticipated biopic Straight Outta Compton, Universal chief Donna Langley expressed her excitement on doing something nobody in the rap world thought was possible – reuniting NWA for a European tour to promote the movie…with Eminem. For Schumer, whose career has recently taken off, this is what it means to be the funniest, filthiest, and freshest new feminist on the block: you get talked about everywhere.

Aaron’s (Bill Hader) hospital scrubs and we’re looking at a very similar setup here, where flawed female is suspicious of the guy who likes her “just as she is.” Beyond this charming cocktail of insecurity and alcoholism, Bridget and Amy share a passion for smoking and almost invisible skirts. Right now, someone like Madeleine is standing in a washroom calling your movie “inauthentic.” At 34, having been around the standup comedy circuit for more than a decade, Schumer, a child of New York privilege whose family splintered when her father went bankrupt and got multiple sclerosis (it’s in the movie) seems more than ready to handle her big moment, even if it does get mixed reviews. He said, “I’m working with Amy, can I send you some stuff?” He really educated me on her, he sent me her Howard Stern interview, among other things.

While the comic remains unknown to many, I’ve been to women’s dinners in which entire Schumer sketches from her series “Inside Amy Schumer”(Comedy Network and YouTube) are re-enacted and fawned over, especially “The Last Fu—able Day,” in which she hilariously nails the idea that female actresses are deemed sexually undesirable after a certain age. Sure, women have been socialized to believe that they need those things to find joy, but I know plenty who genuinely want a family, and that’s wonderful.

And they invited me to lunch and I called my agent and said, “I think I might be part of something … I’m going back for lunch tomorrow.” And that kind of went on for about a week. Warm and fuzzy, fine, but the message is a bit of a letdown coming from the brain behind defiantly subversive skits like “Last F—able Day,” “Football Town Nights” and “Girl, You Don’t Need Makeup.” Since talking about your feelings is, like, a totally unmanly thing to do, guys in rom-coms tend to have these delicate convos while playing some type of sport.

The fact that Schumer’s movie feels tepid is too bad (although NBA star LeBron James, is a knockout as a “sensitive” guy who loves to watch “Downton Abbey”). The jokes have included her expectation that a more attractive actress, “a Kate” (like Upton or Middleton) would be cast in her place, and her insistence that her LA experience has proved she will never be a movie star. “Definitely not,” she said in an interview. “I’m not doing it. It’s all a win for feminism, a word (and movement) that is experiencing rebirth precisely because a new generation of female authors, entertainers, and comics are not only embracing it but reinventing it as their own. Schumer, like Lena Dunham, Tina Fey, and Melissa McCarthy, whose movie “Spy” is laugh-out-loud funny, is yet another sturdy nail in the coffin of what many people falsely deplored as humourless feminism. In rom-coms, the only way to save a flatlining love affair is an over-the-top expression of love, often involving some sort of public display and/or musical performance and/or personal humiliation.

The script mocks the modern woman instead of bolstering her; she’s a “trainwreck,” not an empowered individual focused on her professional aspirations. The problem was that no one wanted to hear their serious message — that women were underpaid and undervalued and they were demanding a larger slice of the pie. Does Trainwreck conclude with a similar only-in-a-rom-com spectacle? (What do you think?) Schumer’s heroine is brash and boozy and has woken up in a bed on the wrong side of the Staten Island Ferry at least once. One of her most famous sketches, a full-episode version of 12 Angry Men in which jurors weigh whether Schumer is hot enough for TV, also came from a blogger’s comments. “I’m trying to do my part, just so people can feel comfortable in their own skin,” she says. “I don’t think we should throw out all the hot people.

I say if I’m strong,” at the Gloria Awards) and hysterically unapologetic ones. “I am really in it to talk to the women in the crowd, if I’m being totally honest,” she says. “But what I’ve found is that the men want to hear it, too. With “Trainwreck,” she vindicates everyone who has told me since childhood that I’m going through a phase by not needing a relationship to be happy. I will speak and share and f—k and love and I will never apologize to the frightened millions who resent that they never had it in them to do it . . . “Trainwreck”is oddly sweet. And women are just as much to blame as men for why we’re unable to understand each other.” Her talent has lured not just Apatow but Chris Rock (director of her upcoming HBO special) and Madonna, whom Schumer will open for in September.

There were a couple of things (that) Kim was like, “If you need to use them, these are keys that will annihilate her.” That day in particular felt the most like we were re-creating scenes from their life. There’s just so many elements to it that the book beautifully masks for you, the technicalities. (The boy) Jack is so innocent and beautiful, and his perception of everything is so beautiful. Verified email addresses: All users on Independent Media news sites are now required to have a verified email address before being allowed to comment on articles.

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Finding the ‘Joy’ in Jennifer Lawrence

20 Jan 2016 | Author: | No comments yet »

‘Joy’ review: Jennifer Lawrence cleans up in enjoyable biopic.

Writer-director David O. Their latest collaboration — following in the footsteps of Silver Linings Playbook and American Hustle — is a biographical picture about the life and times of Joy Mangano.Jennifer Lawrence groans when she’s asked about singing the classic Nancy and Frank Sinatra duet Something Stupid with co-star Edgar Ramirez in her new film Joy. “David [O Russell, the movie’s director] texted me last night to ask if he could put it on the soundtrack and this is what I texted him back,” the actor says as she digs around for her mobile phone and reads out her response verbatim. “‘David, no!!!’ and it is three exclamation marks.In a very abbreviated nutshell, that actually happened to Joy Mangano, 59, the fabulously successful Long Island entrepreneur/inventor and HSN pitchwoman whose rags-to-riches journey started with the invention of a mop.

Russell has made three kinds of movies: offbeat romances (“Flirting With Disaster”), surreal comedies (“I Heart Huckabees”) and dramas about dysfunctional yet appealing families (“The Fighter”). In real life, Mangano is the Long Island housewife and inventor who became famous and eventually rich after bouts of near-bankruptcy, by creating and marketing her Miracle Mop. Out Boxing Day in Australia, the film stars Jennifer Lawrence in the fictionalised life story of Joy Mangano, a single mum from Long Island who made her fortune selling a mop. On Christmas Day, “Joy,” a movie inspired by her struggles as a divorced, single mother turned mogul by way of that mop, will open at movie theaters across America.

This was before she hooked up with the giant Home Shopping Network, becoming their most effective pitch person and eventually selling her parent company, Ingenious Designs, to HSN. Gross, I can’t listen to it; I have to go to bed.’ And I said yes, but it’s a groaning, reluctant yes.” It’s the kind of unfiltered moment you come to expect when interviewing Lawrence, who may now be one of the most famous actors on the planet but still blurts out whatever she’s thinking with such self-deprecating charm it’s impossible not to be, well, charmed.

Jennifer Lawrence’s performance as Miracle Mop inventor and QVC pitchwoman Joy Mangano glues the movie together, but it threatens to unravel at any time. Lawrence, 25, looks genuinely surprised when complimented about how unchanged she seems from our earlier interviews before the fame and Oscars. “But there would be no reason to change,” she says with a shrug. “I just have a job and I love my job. In the film, Lawrence’s Mangano is a colourful character, a single mom with a unique relationship and friendship with her ex-husband, and an enterprising woman who parlays her creativity into an incredibly successful business.

Mom (Virginia Madsen) stays in her bedroom and watches soap operas, until she falls for a Haitian plumber (Jimmy Jean-Louis) who fixes a hole in her bedroom floor. She landed minor roles on TV shows such as Monk, Cold Case and Medium before her 2010 indie film Winter’s Bone led to her becoming the second youngest best actress Oscar nominee in history. This is true even when the film tilts off its rocker with a bit of Russell-esque madness built into the screenplay, and with the director failing to always keep the energy going. That resulted in not only a string of critically acclaimed films, an Academy Award and another Oscar nomination, but also her very own mega-franchise as Katniss Everdeen in The Hunger Games.

Joy’s grandma (endearing Diane Ladd) delivers messages of empowerment and smooths over constant fights, but she’s opposed by the money-grubbing rich woman (Isabella Rossellini) who dates Joy’s dad and sends negative messages about her. Lawrence’s endearing habit of speaking her mind resulted in a controversial essay she penned on Lena Dunham’s website about her discovery during the Sony hacks that she was being paid less “than the lucky people with dicks” on her recent films, including American Hustle. “I completely understand when people say actors shouldn’t talk about politics and things they don’t know about, but this was my gender at stake and it was being threatened with unfairness and I thought, ‘What is the point of having this voice if it’s not to speak out for myself and for everyone else who can’t?’,” she says unapologetically.

Upon learning that Lawrence would be playing her mom, Miranne says, “I braced myself so I wouldn’t fall on the floor.” As for Mangano, she says Lawrence playing her “made me feel old, number one. Lawrence hangs out with a posse of celebrity girlfriends, including Amy Schumer and singer Adele, but the reason is simple. “The friendship gets expedited a lot when you meet someone you know beyond a shadow of a doubt has no agenda,” she says. Draining her savings and taking out loans, she started off small, selling her mops to local boat owners. “She persuaded QVC to take a thousand, but sales were poor and they tried to send them back,” says Mason. “She suggested letting her demonstrate it herself, and the channel agreed.” Sales skyrocketed and Mangano’s career as a QVC pitch woman was launched. That’s so amazing there aren’t even words.” Mangano and her three children didn’t view “Joy” until the Dec. 13 premiere in Manhattan, though a family outing to see “Trainwreck” included a trailer.

This is, after all, the self-confessed reality-show junkie who confessed in a recent Vogue interview that on the night of her 25th birthday party, friends surprised her with a visit from reality queen Kris Jenner, who presented her with a cake inscribed, ‘Happy Birthday, you piece of shit!’ The only time she seems tongue-tied is when asked about her relationship status, after a four-year stint with X-Men: First Class co-star Nicholas Hoult and a year with Coldplay singer Chris Martin before their breakup earlier this year. “Next!” Lawrence says in a no-nonsense voice, pausing as she decides if she’ll continue that thought. For one thing, Mangano’s childhood is not that interesting for a film, despite some flashbacks to her as a youngster (when she is played by 10-year-old Isabella Cramp, who does actually look like we imagine Lawrence could have at the same age). A satire on the acquisitiveness of the public? (Here, QVC foists unnecessary things on gullible viewers who could better save their money.) Russell doesn’t seem to know. And, of course, the grave ending would be a lie: Mangano is very much alive at the age of 59, still inventing, still pitching products, still a superstar of the American home shopping universe. There’s the Clothes It All luggage system, essentially a rolling suitcase with a removable garment bag, and the Super Chic vacuum, which releases fragrance into the air.

If I even casually say something to a reporter, that quote haunts me for the rest of my life,” she says, “so I am never, ever, ever talking about boys again!” I don’t think any of us brought enough tissues!” A good portion of the film was shot last winter in Boston, and though the always-busy Mangano was twice scheduled to visit the set, snowstorms made travel impossible. He has mixed genres successfully before, as in the anti-war comedy-drama “Three Kings,” but the blender often grinds to a halt in “Joy.” Just as we’re getting used to the realism of Mangano’s fight for respect, Russell photographs Rossellini as if she were a gargoyle.

One of her creations, the thin and velvet-covered Huggable Hanger, remains a bestseller for HSN, at more than 300 million sold, and was endorsed by Oprah Winfrey. Yet in “Silver Linings Playbook,” Cooper, De Niro and Russell all supported her with fine work; here they lay back and make the movie a one-ring circus where she has to be acrobat, bareback rider and clown.

He had a presence all of his own.” At one point, Miranne says, “Jennifer grabbed Joy’s hand and said to David, ‘Look at the nails, a French manicure.’ ” (That manicure is a Mangano signature.) Lawrence revealed that in studying for her part as Joy, she watched recordings of the inventor’s early pitches on HSN, including ones for “Huggable Hangers” and found her so compelling that she wanted to buy them on the spot. There is something special when creative people get together.” Mangano’s take on Lawrence? “She’s beyond her years, so brilliant, hysterical and so talented.

Critically, Russell’s sense of wonder and beauty turns elegiac moments — especially when Joy Mangano becomes fully realized as a woman and as a business executive — into scenes of great beauty. Lawrence recently said on “The Tonight Show With Jimmy Fallon” that the movie was “half Joy Mangano’s story and half [Russell’s] imagination and other powerful, strong women who inspired him.” The director mined much of his Mangano material by phone.

The cast includes Edgar Ramirez, Diane Ladd, Virginia Madsen, Isabella Rossellini, Susan Lucci (in a mock TV soap opera that gives Joy some of its silliness) and even Melissa Rivers as her late mother Joan Rivers. There’s no situation Joy cannot overcome or circumvent.” At a Newsday photo shoot at Mangano’s luxurious but serene 42,000-square-foot mansion on 11 acres in St. As for parting advice for the ambitious? “If this movie inspires even just one more person to believe in themselves and to go after their dreams, then it’s made a very special impact in this world.

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