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Nov 17th 2011, 12:40

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offlineMiss Frost
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Wait who's Jessica Lange? And why do all her fans oppose to Streep?
Nov 17th 2011, 13:37

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offlineTrent
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Jessica Lange and Meryl Streep are both great actresses. I'm not picking a side. I haven't seen AHS (as I refuse to watch anything Ryan Murphy has ever laid his hand on) but I have heard Lange is the shining star.

P.S. Vote in my awards. See my sig: 
2013 Emmys FYC
Amy Poehler, Jane Krakowski, Matthew Perry, Martha Plimpton, Louis CK, Nick Offerman, Adam Scott, Garret Dillahunt
Nov 17th 2011, 16:53

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Quote by MarkAlexis
^ Oh Jesus H. Christ - if that's how you feel about it then ignore the damn thread.


I was responding to you saying you didn't want to be the only one talking in your own thread.
Nov 17th 2011, 17:29

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Why thank you.  Now I'm not.
I don't want life to imitate art; I want life to be art. - Postcards from the Edge (film)
Nov 17th 2011, 20:18

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Quote by MarkAlexis
Why thank you.  Now I'm not.


Brad Falchuk? .......Dylan McDermott???

who are you.
Nov 17th 2011, 20:32

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Why would Dylan be obsessed with Jessica? Is he fucking her?
Nov 17th 2011, 21:39

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I doubt it.

The Sunne in Splendour; I prefer my Roses White

Nov 18th 2011, 07:59

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offlineConstance
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Quote by MorBrill
Why would Dylan be obsessed with Jessica? Is he ****ing her?



No, Sam Shepard is fuhking her.  There was that rumor about Harry Lennix, years ago, but you know you can never go by those things.

And, again, slaughtered it in Episode 7. 

Also:
Jessica Lange in American Horror Story.
I don't want life to imitate art; I want life to be art. - Postcards from the Edge (film)
Nov 20th 2011, 12:17

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offlineTrent
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So I gave in and watched the pilot of AHS.

I hated it. I thought it was Murphy written (a.k.a. horribly written) and was really cheesy.

But Lange was a huge standout. She really was terrific. She saved this show from being (gulp) worse than Glee.

PS. PLEASE vote in my awards (in my signature). Today is the deadline. 
2013 Emmys FYC
Amy Poehler, Jane Krakowski, Matthew Perry, Martha Plimpton, Louis CK, Nick Offerman, Adam Scott, Garret Dillahunt
Nov 21st 2011, 19:30

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Why you love her.

If you doubt me, you need only look to Jessica Lange’s Constance. I think this show is an instance of an actor taking something measly and silly and making it remarkable and lovely – I could watch Lange work all day. Anyway. Constance. I won’t go so far as to call her the protagonist – ha ha because she’s totally not – but she is at this point one of three characters (and only one of two living) who we feel any empathy for. This is because instead of creating a character of the house (which is traditional in a haunted house type film or novel, check out Shirley Jackson’s classic The Haunting of Hill House for reference.) Murphy and Falchuk have decided to grant us egress to the house and its personality through Constance, her family,  and her ten kinds of crazy messed actions. It is no accident that we find ourselves rooting for Constance and egging her on, and no coincidence at all that she chose to keep every single child she conceived even when she learned those pregnancies were compromised in one way or another. We are allowed to root for her because the storytellers have deemed her to be a “fighter” someone strong and worthy of respect – because of the decisions she has made regarding her reproductive rights.

SOURCE: http://www.fempop.com/2011/11/21/american-horror-story-shocks-but-not-like-you-think/ 
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Nov 25th 2011, 06:44

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offlineConstance
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Cause, you know, I'm mad about Lange the way some are about Streep.  Had to post in here :D

The Story of a ****ing Psychotic Angel

roniirv:
Proud Virginian, the old dominion, born and bred.
beforesix:
She’s my favorite. 70 feet though, hahah omg.











Jessica Lange in American Horror Story









“Jessica Lange steals this surreal freak show with comical verve, purring and hissing in a delirious display of mock piety laced with menacing vulgarity.  In a sensational turn as a flamboyantly nosy neighbor, [she’s] elegant and menacing and deliciously arch, like something out of the 60’s camp classic Hush, Hush, Sweet Charlotte. She’s reason enough to tune in.” – TV Guide
The true star of the series is Jessica Lange, who’s in roughly the age range of Bette Davis inWhatever Happened to Baby Jane? and Hush, Hush, Sweet Charlotte and just as regally nutty.  Lange has never been afraid to let her freak flag fly, and in this show she’s hoisting that baby over her head and twirling it around in figure-eights.  She’s a plummy marvel, issuing every line in a sinuous sing-song and caressing props as if they were long lost lovers’ hands.  Even her silences are in italics.” - Salon
“Jessica Lange [is] easily the best element of the series.” – Hollywood Reporter
“Jessica Lange, in glorious blood-and-moonlight-on-magnolias mode, is simply marvelous — she doesn’t just chew the scenery, she spits it into her hand and uses it to make hallucinogenic tea.” –Los Angeles Times
“What makes Constance so engrossing is her deliciously contemptible portrayal by Jessica Lange.  Lange’s variant voice volumes and knack for saying the cruelest things in the kindest manner make her all the more unnerving and threatening.  Her […] conversation over poisoned cupcakes […] stands out among her finest scenes as an actress.” - PopMatters
“[Jessica Lange] is giving a warts-and-all performance that will likely net her some awards nominations.” - Newsweek
“Jessica Lange in American Horror Story is funny yet delicately ornate, like a dying tree decorating itself with moss.” - People
“When Jessica Lange swans in as the nosy new neighbor, snooping around for the eventual Emmy nomination she’s sure to receive, it’s a reminder that nobody writes showy guest-star parts better than Murphy.” – New York Magazine
“[There is] the indelible supporting work of Jessica Lange.  As a sinister neighbor with a Southern accent who drops by with Ipecac-flavored cupcakes, Lange is fantastically over the top.” – Boston Globe
“Jessica Lange […] is a malicious hoot, far more colorful than the morose [lead] characters.” –Entertainment Weekly
“A completely fabulous Jessica Lange having a romping good time.” – USA Today
“Jessica Lange is terrific (in both senses of the word) as a sinister neighbor.” –Washington Post
“Give Jessica Lange all of the awards - Emmys, Golden Globes, Oscars, soccer trophies.  ALL OF THE AWARDS.” - TV.com
“Jessica Lange steals the scene as the couple’s “Proud Virginian” kleptomaniac neighbor and really should just pick up her Emmy now.” - E! Online
“An absolutely delicious Jessica Lange, doing her first TV series, as the mysterious and clearly disturbed next-door neighbor […] is having the time of her life.” - Philadelphia Inquirer
“[Constance] is played with grim relish by Jessica Lange.” – Miami Herald
“[Constance] is deliciously played by Jessica Lange.” – Mercury News
 




Jessica Lange in American Horror Story.
 
 


I don't want life to imitate art; I want life to be art. - Postcards from the Edge (film)
Nov 26th 2011, 17:32

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offlineConstance
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In Retrospect: "Blue Sky"

Here's a "commentary" written by then Los Angeles Times staff writer, Peter Rainer.  I just found this article not too long ago myself and really loved it.

A Glamorous Hothouse Violet: Commentary: Jessica Lange's striking performance in "Blue Sky" is belatedly released. How come this superb actress isn't working more? 
September 21, 1994
PETER RAINER | TIMES STAFF WRITER


Jessica Lange's acting in "Blue Sky" leaves you awe-struck. It's a great performance. Because the film, which was shot in 1991, is just now being released--it's yet another foundling from the pre-bankrupt Orion Pictures era--its appearance is like a gift.

It's an especially welcome gift because Lange hasn't been acting much in the movies lately. (She'll appear in "Losing Isaiah" in November.) She starred on TV in 1992 in "O Pioneers!" and, later that year, on Broadway as Blanche DuBois in "A Streetcar Named Desire." But her two most recent movies are "Cape Fear" (1991) and "Night and the City" (1992).

You have to wonder how it is that Lange could give the performance she gave in "Blue Sky"--it's probably her best, even better than her Frances Farmer in "Frances" or her Patsy Cline in "Sweet Dreams"--and keep away from the cameras for so long. The lack of good roles for actresses is no excuse. Lange is the kind of actress film artists write great roles for .

*

Lange's role in "Blue Sky" as Carly, a manic-depressive Army wife, is, at least superficially, one of those life-force sexpot vamps who periodically turn up in the movies in order to reduce stalwart men to foaming fumblers. She's conceived as a sort of cross between a Tennessee Williams hothouse violet--a deranged, damaged maiden--and a late '50s/early '60s glamorpuss in the Marilyn Monroe style. (The action is set in 1962.)

Part of what Lange accomplishes with Carly is to demonstrate how close in neurotic temperament these two female incarnations really are. They both rise and fall on the fragilities of beauty. The loss of beauty--or at least its illusion--becomes the loss of self.

Carly knows she is still beautiful, and she exults in her own good fortune. She sashays with the humor of a woman who believes herself blessed--the gods must want her to entertain them too. Carly models her look on the reigning movie queens: Monroe, Elizabeth Taylor, Bardot. She has seized on movie-star glamour for its power to transpose her life into a swoony, scandalous fantasy. The irony is that Carly is an original--the more she mimics her fanzine idols the more she emerges in all her ravaged singularity. When she's manic she's too much for herself--too ferociously pent-up and passionate--and that's exactly the state she craves. She needs the fix of delirium.

She's a trial to her two daughters, who indulge her episodes with a mixture of horror and annoyance. (They're like abused seraphim.) She's a trial to her husband, Hank, an Army radiation scientist, played by Tommy Lee Jones, who decided a long time ago just to love her unconditionally. (The felt, underplayed graciousness of his performance helps make Lange's possible. And, of course, few directors could work more wonders with actors than Tony Richardson--this was his last film.)

But, on some essential level, Carly's deliriums have so much more romantic feeling, so much more danger, than anything else in her family's life that she has become indispensable to their will. She's a maddening creature in full swoon but, when she's in a generous mood, she transforms their dullsville life into a high-spirited casbah. (The black comedy of the piece is that Carly makes her husband and children miserable so she can commiserate with them in their misery and make them whole.)

*

Carly's high spirits lift her way off the ground, but she can't stay up there forever. It's when she comes down with a crash that she terrifies. When Hank--partly because of Carly's take-it-all-off high jinks--is transferred at the start of the film from Hawaii to a military base in Alabama, Carly's sensual, dolled-up funniness inflames to a full-scale rage. Her baby talk and sweet smiles, so transparently protective, burn away, and she flees her run-down new home until Hank tracks her down in a supply store like a cornered animal.

"I can see that radiation just coming off you," she wails at Hank, who talks her down with an infinitely comforting patience. He rescues her again, and, yet again, she will betray him. But as she approaches her in this scene, Carly's eyes shine in admiration for her rescuer. The harridan has turned into a supplicant.

Carly's rages are scary because they don't have the self-dramatizing play-act quality of her swoony, rapt episodes. When she's dancing her flamenco for a bunch of wide-eyed soldiers at the base in Hawaii, or even when she's just dancing sinuously by herself, she has a dreamy, comic quality that lets us know she's in on her own self-delusion. She plays to an audience even if that audience is herself. (In a sense, the role is all about the illusionary, crazy-making art of acting.)

But, when she feels trapped and cornered, her voice drops from a hushed Southern breathiness to a hard, low-slung rasp. (The vocal shifts are reminiscent of Vivien Leigh's Blanche in the movie version of "Streetcar.") Her movements becomes jagged. She's not self-dramatizing in these moments; there's no bravura, no studied self-awareness, nothing to distance her (or us) from her pain.

You can see why she avoids the pain--it strips away her camouflage and leaves her ragged and illusionless. When she's high, she's hellbent to stay that way. She has a split-second sensuality; she can turn it on in an instant--before the despair crowds in. When she thinks Hank is losing his love for her, she sits up at night while he sleeps; when he wakes up and sees her, she asks him if he still loves her and then, before he can answer, advances upon him like an uncoiled dream walker.

As the distressed Frances Farmer in "Frances," Lange sometimes had the lurid, scary, powder-burned look of a figure in a Weegee photograph. In "Blue Sky," Lange's Carly, at low ebb, sometimes has the bereft, denuded look of a woman in an Edward Hopper painting. Carly can appear so languorously sad--it's not the way we want to see her. (Sadness doesn't make her soulful; it saps her.)

You can almost forgive her hurtful sprees--like the way she carries on with the base commander in full view of everybody--because it's her way of murdering despair. Carly's seductions hurt everyone around her, but, for her, they're not quite real. She doesn't want to be "real." She wants to retreat into her own movie-glamour authenticity, and the men she seduces are just play-actors in her pageant.

Carly ends up a heroine by rescuing Hank from a nasty military double-cross. After saving her so many times, she saves him. It's a supreme act of love, and Lange has prepared us for Carly's strength by already showing us, in flashes, the depth of that love and the mettle in her mania. Without this last-inning righteousness, Carly might seem too overpoweringly deluded, too neurotically "womanly" for modern audiences. But she'd be a great character even without this final triumph. Her greatness is in not holding anything back.

The real heroism in "Blue Sky" is the way Jessica Lange doesn't hold anything back. She has so much to give. It's a fierce display. 

http://articles.latimes.com/1994-09-21/entertainment/ca-41118_1_blue-sky 
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Nov 30th 2011, 21:29

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Killed it in American Horror Story.  Killed it.  And, yes, I will continue to shout this from the rooftops until it burrows itself in your skull like a fact not because I'm a fanboi but because it is a fact:  Jessica Lange gives one of the most riveting performances on TV - or any other medium, for that matter - of the year in "American Horror Story".
I don't want life to imitate art; I want life to be art. - Postcards from the Edge (film)
Dec 1st 2011, 08:36

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I don't want life to imitate art; I want life to be art. - Postcards from the Edge (film)
Dec 1st 2011, 09:06

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I don't care what happens the rest of the tv season or what episodes anyone submits...Jessica Lange has got to win an EMMY for this!!!

Also, did anyone notice the commercials for the most recent episode used a different take for the Lange line "Do you realize what you've done?!" than the one in the actual episode?  The commercial one is a medium shot fully showing Lange saying the line, while the episode had a moving shot that barely shows her face while saying the line.