THE 2012 SPIRIT AWARDS NOMINATIONS

Well, it looks like award season has been officially kicked off with the announcement of this year's nominees for the 28th annual Independent Spirit Awards.  A few of my favorites; "Beasts of the Southern Wild", "Keep The Lights On" and "Silver Linings Playbook", have earned multiple nominations with "Linings" and "Moonrise Kingdom" each having the most with five a piece.

The awards are presented by the Film Independent with The Spirit Awards being traditionally handed out at an afternoon ceremony along the beach in Santa Monica, CA., on February 23, 2013, the day before the Academy Awards.

Here are the nominees:

BEST FEATURE
"Beasts of the Southern Wild"
"Bernie"
"Keep the Lights On"
"Moonrise Kingdom"
"Silver Linings Playbook"

BEST DIRECTOR
Wes Anderson, "Moonrise Kingdom"
Julia Loktev, "The Loneliest Planet"
David O. Russell, "Silver Linings Playbook"
Ira Sachs, "Keep the Lights On"
Benh Zeitlin, "Beasts of the Southern Wild"

BEST SCREENPLAY
Wes Anderson and Roman Coppola, "Moonrise Kingdom"
Zoe Kazan, "Ruby Sparks"
Martin McDonagh, "Seven Psychopaths"
David O. Russell, "Silver Linings Playbook"
Ira Sachs, "Keep the Lights On"

BEST FEMALE LEAD
Linda Cardellini, "Return"
Emayatzy Corinealdi, "Middle of Nowhere"
Jennifer Lawrence, "Silver Linings Playbook"
Quvenzhané Wallis, "Beasts of the Southern Wild"
Mary Elizabeth Winstead, "Smashed"

BEST MALE LEAD
Jack Black, "Bernie"
Bradley Cooper, "Silver Linings Playbook"
John Hawkes, "The Sessions"
Thure Lindhardt, "Keep the Lights On"
Matthew McConaughey, "Killer Joe"
Wendell Pierce, "Four"

BEST SUPPORTING FEMALE
Rosemarie DeWitt, "Your Sister's Sister"
Ann Dowd, "Compliance"
Helen Hunt, "The Sessions"
Brit Marling, "Sound of My Voice"
Lorraine Toussaint, "Middle of Nowhere"

BEST SUPPORTING MALE 
Matthew McConaughey, "Magic Mike"
David Oyelowo, "Middle of Nowhere"
Michael Péna, "End of Watch"
Sam Rockwell, "Seven Psychopaths"
Bruce Willis, "Moonrise Kingdom"

BEST CINEMATOGRAPHY 
Yoni Brook, "Valley of Saints"
Lol Crawley, "Here"
Ben Richardson, "Beasts of the Southern Wild"
Roman Vasyanov, "End of Watch"
Robert Yeoman, "Moonrise Kingdom"

BEST DOCUMENTARY 
"How to Survive a Plague"
"Marina Abramovic: The Artist Is Present"
"The Central Park Five"
"The Invisible War"
"The Waiting Room" 

BEST INTERNATIONAL FILM 
"Amour," Michael Haneke
"Once Upon a Time in Anatolia," Nuri Bilge Ceylan
"Rust and Bone," Jacques Audiard
 "Sister," Ursula Meier
"War Witch," Kim Nguyen

BEST FIRST FEATURE 
"Fill the Void"
"Gimme the Loot"
"Safety Not Guaranteed"
"Sound of My Voice"
"The Perks of Being a Wallflower"

BEST FIRST SCREENPLAY 
Rama Burshtein, "Fill the Void"
Derek Connolly, "Safety Not Guaranteed"
Christopher Ford, "Robot & Frank"
Rashida Jones and Will McCormack, "Celeste and Jesse Forever"
Jonathan Lisecki, "Gayby"

JOHN CASSAVETES AWARD (Given to the best feature made for under $500,000)
"Breakfast With Curtis"
"Middle of Nowhere"
"Mosquita y Mari"
"Starlet"
"The Color Wheel"

HOLY MOTORS (2012)

Written & Directed by Leos Carax


Where & When: Nuart Theater, West Los Angeles, CA. November 19, 2012  7:40PM



"Holy Motors" is the utterly strange, wildly confusing yet quite fascinating visual wonder by French filmmaker, Leos Carax. His previous work most certainly will not be familiar to the average American filmgoer but even to the rest of the world, Carax may not be immediately recognized as this marks only his first film in thirteen years and only his fifth feature since his debut in 1986. According to Mr. Carax, a former film critic, it was not for a lack of trying. It is well known that it's always a challenge to get any film project off the ground, especially when you are a director who doesn't gravitate anywhere near the conventional. And conventional "Holy Motors" is absolutely not.

Denis Lavant, (who has appeared in four of Mr. Carax's films) plays Oscar whose work involves traveling throughout Paris to complete a day of "assignments" that involves putting on elaborate make-up and costumes to become several different people. He is driven to each job in a white limo by his associate, Celine (Edith Scob, who does a brief nod to her role in the 1960 French horror classic, "Eyes Without A Face" near the end) as he first transforms in to a homeless woman begging on the street before turning into Mr. Merde, a grotesque sewer-dweller who will ravenously eat anything in front of his face, from a bouquet of flowers to human fingers. The creature is captivated by a fashion model (Eva Mendes) on a photo shoot before dragging her back to his lair. Oscar's other varied assignments include performing while wearing a motion-capture suit that features gunplay and sexually charged acts with a female, leading a band of accordion players through a musical number and a chance encounter with another "worker" (Kylie Minogue) who may have been once romantically involved with Oscar. His final job has him returning to his family, which leads to a conclusion that is truly wacky and bizarre.

Mr. Carax's script appears to be elusive by design with the dialogue intended to only add to the riddle of what this all means. But what's clear is that "Holy Motors" is a celebration of the art of performance and what hold everything together is the presence of the gifted Lavant. Here, the French actor is given the opportunity to use his rubbery, expressive face to dive deeply into a multitude of characters while displaying a wide range of emotions from funny to touching to just plain weird with the actor more than capable of rising to this complicated challenge.

"Holy Motors" pays a bittersweet tribute to the moving image as it imaginatively combines classic cinematic elements with modern techniques that goes from a bloody revenge segment to a melancholy musical number with Australian pop star, Minogue breaking into song. This all feels very much like a Gallic version of something that David Lynch would conjure up.

The surreal journey in "Holy Motors" leaves you dizzy and flustered but it also manages to sneak up on you, drawing you in to this dazzling fantasy that looks at life through the magical dream world of cinema and despite Mr. Carax's dark, oddball approach, his deep love of film shines through brightly.

FLIGHT (2012)

Written by John Gatins


Directed by Robert Zemeckis


Where & When: Arclight Cinemas, Hollywood, CA. November 4, 2012  6:00PM



Two-time Academy Award winner, Denzel Washington has joined forces with fellow Oscar winner, director, Robert Zemeckis with the fascinating results of this collaboration being "Flight". The film grapples with the heroic effort of a quick-thinking airline pilot who manages to save the lives of most of his passengers after a mechanical problem brings the plane down. However it is his off-duty activities that comes under scrutiny with mounting concern that it may have possibly impaired his judgement on the job

We first meet "Whip" Whitaker (Washington) early one morning in Florida after an alcohol and drug-fueled evening with a lovely member of his flight crew (Nadine Velazquez). Although he is quite an experienced pilot, it's clear that he is in no real condition to fly a plane but after a white powder pick-me-up, "Whip" appears smooth and ready for flight.

With passengers and crew ready to take off to Atlanta, "Whip" is convinced that he's got everyone fooled and under control although his co-pilot, Ken (Brian Geraghty) seems unsure but remains silent. Experiencing extreme turbulence while taking off in a heavy storm, "Whip" shows off his skills getting the plane in to clear skies. After sneaking some liquor and taking a quick nap, "Whip" prepares to land however something goes terribly wrong, which leads to the film's most harrowing sequence, as the plane nosedives uncontrollably back to the surface. With Ken in full-blown panic mode, "Whip" has to make some quick decisions to try getting the plane back in control and slowing it down before crash landing.

"Whip" wakes up in the hospital with relatively minor injuries and greeted by his old friend, Charlie (Bruce Greenwood)  now a rep for the pilot's union. Although there were very few fatalities and he's seen as a hero but now "Whip" is informed that he's under investigation due to a blood test revealing that he was under the influence of narcotics. His lawyer (Don Cheadle) has managed to squash the test during the hearing but "Whip" still must go before the safety board to answer questions about the events. With his career and the possibility of jail time on the line, "Whip" struggles to remain sober before his appearance with the committee while adamantly denying he has a problem with drugs.

This is the first live action film that the director has done since the 2000 Tom Hanks vehicle, "Castaway" as he has spent the last few years experimenting with digital motion-capture that combines the movement of live actors with computer animation. This was utilized on his two holiday films aimed at children, "The Polar Express", and "A Christmas Carol" as well as the more mature action-adventure,"Beowolf". Although the response to the effect has been decidedly mixed, Mr. Zemeckis has not lost his gift of combining a dynamic, visual spectacle with a challenging story of emotional depth and introspection which he certainly brings to "Flight".

The film is helped greatly by the tense, well-crafted script by John Gatins but the greatest strength of "Flight" are the performances.There is no doubt about the amazing talent of Denzel Washington as he has proven film after film without ever delivering a false note. Lately, his last few films, including "Safe House", the box-office hit from earlier this year, has him playing against the noble and compassionate roles that marked the early part of his career as he has gone darker and more complex. He's in fine form here expertly playing a deeply troubled character whose addictions have finally reached the surface and as his life begins to spin further out-of-control, he fights even harder to cover them back up without being willing to actually alter his behavior. The actor has certainly delivered one of his finest performances and one of the best of this year.

Mr. Washington is helped by a terrific supporting cast which includes John Goodman in a showy turn (and taking a fashion cue from Jeff Bridges in "The Big Lebowski") as a jovial, drug dealer who gives a spirited, educational moment as he's called in to whip "Whip" in to shape before his appearance with the board in a way that only a supplier could do. Another standout is Kelly Reilly (another Brit doing a flawless American accent) playing a tender-hearted heroin addict nearly dying of an overdose who happens to be in the hospital at the same time as "Whip". They form an unlikely relationship made more complicated as each are in very different places in their road to recovery. Mr. Cheadle never fails to impress as he re-teams with Mr.Washington for the first time since his breakout role in "Devil In A Blue Dress" and recent Oscar winner, Melissa Leo is quite effective in her brief appearance as the lead investigator at the hearing.

"Flight" is a powerful examination of the moral dilemma facing a society who insist that heroes must be perfect and if they turn out to be flawed, then do they actually still deserve to be celebrated for their bravery? This film expertly takes on that question as it soars with breath-taking thrills, heartfelt emotion and landing with graceful precision.

SEVEN PSYCHOPATHS (2012)

Written & Directed by Martin McDonagh


Where & When: Arclight Cinemas, Hollywood, CA.  October 24, 2012  7:15PM



"Seven Psychopaths" is a pumped-up, tough-talking, testosterone-heavy romp by the acclaimed playwright and occasional filmmaker, Martin McDonagh. This follow-up to his first feature length film, "In Bruges" (that was one of my favorites back in 2008) which starred Colin Farrell in one of best film roles, has the actor returning along with a colorful cast of well-known eccentric performers in a admirable but uneven caper involving another plot featuring the writer's well-known fascination with unpleasant stories that allow him to find great, unexpected humor in the grittier, seedier and bloodier elements in life

In a part that allows him the rare opportunity to speak with his natural brogue, Mr. Farrell plays Marty,.an Irish screenplay writer living in L.A. He's got a title, "Seven Psychopaths" and not much else as he struggles to come up with a story. His live-wire buddy, Billy (Sam Rockwell) is concerned as he thinks Marty's got a drinking problem and his Australian girlfriend (Abbie Cornish) is wrong for him which leads him to believe are the causes for his block.

Billy is in no position to be critical, however, as he makes his living stealing the beloved pets of people, then after a hefty reward is posted, returning the animals to their owners while appearing reluctant to collect the cash offer. Billy's associate in crime, Hans (Christopher Walken), a religious man with a mysterious past needs money as his wife is dying of cancer. Their seemingly brilliant scheme runs into an impending snag when they kidnap the wrong pooch. The dog in question belongs to a deadly basket-case of a gangster, Charlie Costello (Woody Harrelson) and he's completely distraught over the loss of his precious, little doggie. Once Costello gets wind that it was no mere accident and who might be behind the dognapping, he sets his sights on a murderous quest in retrieving his pet. Marty gets swept up in the mayhem and winds up on the run with Billy and Hans while they each offer ideas to help him finish his script.

Although he delivers a few laughs, Mr. Farrell is basically reduced to a twitchy, straight man, left to reacting to all of the insanity around him while the rest of the actors, Mr.Walken, Tom Waits as a rabbit-loving psycho with a wild tale to tell and most especially Mr. Rockwell, seem to be having a grand time with explosively broad performances, allowing them plenty of opportunities to remind how they earned their reputations.

With the script filled with vividly, atypical dialogue, quirky, barbaric characters, pitch-dark humor and extremely bloody violence, it will unavoidably bring to mind the films of Tarantino. Although Mr.McDonagh's work doesn't exactly sparkle or excite like the writer of "Pulp Fiction" or "Jackie Brown" but he still has his own subtle charms that shine through as he certainly knows how to write rich, textured funny stories. The skewering of Hollywood and it's deep love of cliches comes across as accurate but a bit too obvious and while he brings attention to how women are not exactly treated well in action flicks, he offers nothing much better as the few actresses present (which include the Oscar nominee for "Precious", Gabourey Sidibe as Costello's fearful dog walker) are seen briefly and only seem to be around to hurl insults and degrade. Even Ms Cornish and Olga Kurylenko who plays Costello's girlfriend are prominently displayed in the film's poster but their total time on screen combined only adds up to maybe ten minutes. Mr. McDonagh needs to make more of an effort to use female characters much more effectively.

"Seven Psychopaths" runs out of steam by the conclusion with a jumble of highly improbable actions that felt too mannered and forced. Despite this, the film is still a fun ride for most of the trip that offers (in between all of the bloodshed) some engagingly, wacky humor and reliably off-the-wall comedic performances.

THE PAPERBOY (2012)

Written by Pete Dexter & Lee Daniels


Directed by Lee Daniels


Where & When: Arclight Cinemas, Hollywood, CA.  October 17, 2012  7:55PM



Outrageously deranged and campy but still not particularly entertaining, "The Paperboy", the follow-up to the highly-acclaimed film, "Precious: Based on the Novel, "Push" by Sapphire" by director Lee Daniels, is a pumped-up, Southern Gothic murder mystery that the filmmaker shows little interest in revealing a resolution. He's far more involved in creating a lurid, overheated atmosphere littered with eccentric and grotesque character-types. This might have been interesting to watch except it's all clumsily handled with a wildly incoherent script and allowing his top-notch actors to sink in the muddy swamp with such heavy-handed performances.

Set in a small, Florida town in the summer of 1969, this story is told through Anita (Macy Gray), a slightly loopy woman who worked as a maid for the Jansen family during the time of the murder of the highly disliked, racist sheriff. Another ornery and foul man, Hillary Van Wetter (John Cusack) has been convicted of the crime and sits on death row but proclaims his innocence although he doesn't have much of an alibi. Ward Jansen (Matthew McConaughey), now a reporter for the Miami Times, returns to his hometown to write about the case with a fellow journalist, Yardley (David Oyelowo), a black Brit who raises eyebrows as he demands to be respected by these townspeople. Ward's younger brother, Jack (Zac Efron) stills live at home with their father (Scott Glenn) who runs the local paper. Although he wants to write, Jack is unmotivated with the closes he gets to a newspaper is delivering them.

Charlotte Bless (Nicole Kidman), a hot-to-trot, bottle blonde who spends much of her time writing to convicts in the pursuit of a potential husband, connects with Van Wetter. He tells Charlotte that he didn't commit the murder and that's good enough for her, so she goes to Ward with boxes of evidence to help overturn Van Wetter's conviction. Jack soon finds his motivation in the charms of Charlotte and wants to help his brother on this case. They all work together to investigate, discovering that Van Wetter might have been set up which could lead to his freedom as well as a sensational exposé for the reporters.

Having enjoyed the previous films directed by Mr. Daniels which includes his poorly-reviewed first, "Shadowboxer" (that shares in the convoluted plotting and over-the-top drama yet still seems much more grounded than "The Paperboy")  but I'm puzzled by his third feature film as it's unclear whether he wanted to create a black comedy or melodramatic thriller or perhaps some sort of hybrid? Regardless, it doesn't work in any case as the film feels contrived with way too many gaping holes in this unconvincing story.

Although "The Paperboy" touches on the serious issue of race and the evolving relationship during this era  between the Southern whites who openly bristle at the idea of change and African-Americans who know full well that change isn't going to happen anytime soon but it takes a backseat to overly dramatic flourishes of feverish sexuality and brutal violence that leads to a film that is both unsettling and strangely amusing. A considerable amount of time and energy was put in to create an accurate feel of the period and the film looks great thanks to the work of cinematographer, Roberto Schaefer but it ends up feeling wasted as the editing is choppy and the tone unfocused.

I have always greatly admired Ms Kidman because she has always gravitated towards challenging material as she's a fearless and fully committed actress with no character too bizarre to handle. However, the Oscar winner may have met her match as her role of Charlotte is a cartoon maneater with Kidman made to look ridiculously garish with her skin the color of burnt toast, covered in more make-up that even a drag queen would dare wear. Then she is required to perform a hands-free, mutual masturbation jailhouse visit with Mr.Cusack (that has to be seen to believed) as well as the infamous jellyfish scene that involves Mr. Efron being urinated on by Ms Kidman. Like most of the cast, I'm sure she was motivated to work with Mr. Daniels due to the emotional power of "Precious" but this impassive mess is beneath her.

Although Ms Kidman is the one who is supposed to be delivering the sexy but its only the male stars who actually display some skin. The only purpose of Mr. Efron's appearance seems to be his willingness to perform in much of the film in his tighty-whiteys as he isn't given much else to offer. While Mr. McConaughey shows even more flesh than he did in this summer's hit stripper film, "Magic Mike" but his character's taste for rough trade as a punishment for his forbidden desires is disturbing. The actor appeared in another gruesomely violent Southern tale, "Killer Joe" but he is on a career high this year so this other, unfortunate bump will likely have little effect.

With "The Paperboy", Mr. Daniels drags us through a dark and unpleasant world, drenched in sleaze and savagery that leaves you with nothing more than a feeling that a bath is desperately needed.

2012 AFI FILM FESTIVAL PRESENTED BY AUDI

AFI has just announced the line-up for this year's festival presented by Audi which will be held November 1st through the 8th.

The American Film Institute will once again present an impressive collection of the very best in global cinema beginning with the world premiere of "Hitchcock" which stars Academy-Award winner, Anthony Hopkins as the iconic director with fellow Oscar-winner, Helen Mirren as his wife, Alma. The film focuses on their relationship during the filming of his 1959 classic, "Psycho":



This year's Guest Artistic Director is director, Bernardo Bertolucci as he presents four films that inspired him as a filmmaker which includes the musical, "42nd Street" and the silent classic, "Sunrise: A Song of Two Humans" as well as a documentary short, "Electric Chair", a behind-the-scenes look at Bertolucci's latest film, "Me And You".

Marion Cotillard, the Best Actress Oscar winner will be honored during the festival and will screen her recent film, "Rust and Bone", directed by Jacques Audiard, with her performance in the film being highly praised:



The closing night film will be another world premiere of Steven Spielberg's highly anticipated, "Lincoln" that stars Daniel Day-Lewis as the President and Sally Field as the First Lady.

In between, there will be a wide assortment of films from around the globe including Ang Lee's, "Life of Pi", Walter Salles', "On The Road" and a selection of the official Foreign-Language Film submissions for this year's Academy Awards, "Barbara" (Germany), "Pieta" (South Korea), "Caesar Must Die" (Italy), "A Royal Affair" (Denmark) and director, Michael Haneke's Palme d'Or winner, "Amour" (Austria):






The festival will be held again in Hollywood at the Egyptian Theatre, the Grauman's Chinese Theater and the Chinese 6 Theaters. Like previous years, tickets are being offered for free to all screenings but there will be Patron Packages, Cinepass Express passes and Special Screenings passes available for purchase.

For a complete list of films and additional information, please go to:
AFI 2012

DIANA VREELAND: THE EYE HAS TO TRAVEL (2012)

Directed by Bent-Jorgen Perlmutt & Lisa Immordino Vreeland


Where & When: Lincoln Plaza Cinemas, New York, NY.  October 2, 2012  4:10PM



"Diana Vreeland: The Eye Has To Travel" is the very grand and very divine documentary on one of the most influential people of the last century. First as the fashion editor for Harper's Bazaar magazine before moving on to Vogue as Editor-In-Chief, Vreeland found inspiration and great beauty from a wide range of unique and unconventional models, clothing, photographers, locations and artists where she brought them forth to the world, demanding that attention be paid.

Born in 1903 as Diana Dalziel in Paris, she was the eldest of two daughters of an American socialite mother and British father. Her relationship with her her mother was complicated due to Diana not being seen as conventionally attractive with her being referred to as an "ugly duckling" by her parent. Although raised amongst high society and luxury, first throughout Europe before the family settled in New York at the beginning of World War I, the young, stylish Diana didn't quite fit in as she gravitated towards thoughts and behavior that would seem unbecoming of someone from her background. Dance was her first passion and after taking ballet lessons during the day, she would be out partying in to the wee hours while enjoying the company of various suitors. Diana settled down after she met Thomas Vreeland, a handsome banker and they were soon wed in 1924. Although she had two sons, Thomas, Jr. and Frederick, shortly after, being a conventional mother didn't hold much interest to her as she preferred to shop, travel and socialize.

In 1937, Carmel Snow, the then-editor of Harper's Bazaar had admired the style of Mrs.Vreeland and asked her to do something for the magazine. "Why Don't You. . ." became a popular column that Vreeland would offer colorful suggestions on a variety of subjects with one of her most eye-raising involved washing your blond child's hair in stale champagne to sustain the color. She soon became an editor as she took fashion and her job very seriously, which created problems for staff members if she felt they lacked her passion. During her time with Harper's, Vreeland helped further the career of a young model, Lauren Bacall by putting her on the cover and would later become a Hollywood actress because of it, launched the work of Richard Avedon as he eventually became chief photographer for the magazine and offered fashion advice to the new First Lady, Jacqueline Kennedy.

After twenty-five years with Harper's Bazaar, feeling underpaid and undervalued, Vreeland decided to jump over to Vogue to run the magazine in 1962. Change was in the air and she loved these swinging times as the ideas of beauty was evolving, utilizing the magazine to reflect this. Vreeland stopped using society women as models and began to display ethnic and offbeat looking women such as Penelope Tree and Twiggy who were no longer photographed simply in a studio but actual, exotic destinations around the globe. Performers like Cher and Barbra Streisand, known for their distinctive looks, were championed by putting them on the cover and Rock & roll was embraced in Vogue with Mick Jagger being a favorite of Vreeland's ("Those lips!").

Due to a lengthy period of out-of-control, extravagant spending at the magazine as well as her own advancing years, Vreeland was unceremoniously dumped as the editor at Vogue in 1971. She became depressed and at a loss for a short time before she received an offer that would become the exciting final chapter of her already quite amazing career. As the consultant for the Costume Institute at the Metropolitan Museum of Art, Vreeland would continue to shake things up with inventive (which were considered quite shocking at the time) programs that are still being done to this day.

"The Eye Has To Travel" was crafted like a scrapbook by first-time co-directors, Mr. Perlmutt and Mrs. Immordino Vreeland (who is married to the subject's grandson but never met her) as they gathered a variety of sources;  television interviews she did in her later years, the recordings with writer, George Plimpton for her autobiography, "D.V." and recollections from some of the people who knew and worked with her such as former models who later became better known as actresses, Ali MacGraw (who actually began as one of Vreeland's personal assistants), Lauren Hutton and Anjelica Huston as well as fashion designers, Diane Von Furstenberg, Calvin Klein and Oscar de la Renta. Nobody claims that she was easy to deal with but they all admired her spirit and her progressive ideas on fashion.

As to be expected from such an eccentric personality, Vreeland theatrically spoke in adjectives and exclamation points, a woman who freely expressed her strong opinions, which was certainly not common in her day. However, the film doesn't dig too deep as it is mostly celebratory and doesn't reveal enough of the true, complex woman. Vreeland freely admits that she only liked to disclose her history as she would have liked it to actually have been or what she refers to as "faction". Her personal life is mostly glossed over although her two surviving children discuss how they were very aware that their mother's work was always her main focus even during the time when her beloved husband was seriously ill.

Even if you may not know (or care) about the difference between Veruschka or Balenciaga, "The Eye Has To Travel" is the fascinating look in to the life of the fashion world's true visionary as you can't help being swept away by the prickly charm of this witty, talented woman.