Dear Friedrich --

You know how girls and women can make your heart melt? So flowerlike and hopeful, so silly and fervent, so pretty and funny and forlorn ... Well, I was marveling about this even more than usual a few days ago, and then my brain started volunteering movie titles, and today I realized I had the beginnings of a movie list: movies featuring girls and women who are enchantingly sweet, cute, and charming.

I mean all this in an I'm-deeply-touched-and-a-big-fan kind of way -- and all deference paid, of course, to "how dynamic, how impressive, how strong and how butt-kicking" women can be too. (Let alone "how scary.") But those are qualities for other postings. If anyone should be tempted to pounce on me for this list, or to accuse me of condescension, let him/her reflect for a sec that most of the movies I've come up with are movies that are more popular with women than with men. So there.

Anyway, the list -- which is, as ever, a work in progress:

* Romy and Michelle's High School Reunion
* Clueless
* Fast Times at Ridgemont High
* Mermaids
* Shag
* Many movies starring Audrey Hepburn (especially Charade)
* Some of Grace Kelly's movies (especially Mogambo, Dial M for Murder and To Catch a Thief)
* Many movies starring Leslie Caron
* Flirting
* Home Fries (a quirky Drew Barrymore movie)
* A number of Margaret Sullavan movies (especially Three Comrades and The Mortal Storm)
* Valley Girl (which, BTW, has just become available on DVD, although it looks like some of the necessary music rights may have eluded the disc's producers ...)

And then I started to hesitate. I'm thinking about including "Fly Away Home" and ''Shoot the Piano Player," but am wavering still. Would "The Story of Adele H" make any sense? I love Adjani's ardent stylization, but the movie probably follows the character too far into psychosis -- from charm into scariness -- to qualify. And what to do about all the movies that provide glimpses of charm? I loved a little-known actress named Dey Young, for instance, in "Rock and Roll High School" and "Strange Invaders" -- but if I start to include such movies, the list risks getting unmanageably (and un-usefully) long.

I marvel that there are so few French movies on the list given what a French moviebuff I've been, and given that the French so often seem to be in the business of manufacturing charm. I marvel too at the shortage of older movies. Was "charm" not something the movies peddled much of until the '50s, or is my memory really failing me these days? Those gals from the '30s and '40s (Lombard, Colbert, Stanwyck, etc) are great and I love 'em, but they don't make me emit happy sniffles in the requisite way. From that era, only Margaret Sullavan does. I suppose some of the Lillian Gish movies probably deserve mention even if her lyrical hysteria doesn't quite match my idea of "charm" ...

Any thoughts here? And do you know "Shag"? It's a sweet little movie about Southern girls in the early '60s on a road trip to a beach town: lovely/funny, festive/sad, and much underseen. It stars Bridget Fonda, Phoebe Cates and the wonderful Annabeth Gish. I liked it much more than I liked "Mystic Pizza" and "Pretty Woman," and I suspect that a lot of people who haven't heard of it would enjoy it too.

Best,

Michael

Your list does not have Amelie, starring the scrumptious Audrey Tautou. I am awash in disappointment/astonishment at the immensity of this ommission. Until you include Amelie, your list is but an scrawny shell. Buck up man, and rectify this immediately.

Posted by: Biased Observer on January 27, 2004 10:48 AM

Your list might be missing Jane Fonda in sixties comedies like "Barefoot in the Park."

I just sorta wonder what it is about those movies that elicit that reaction. Is it that the audience is set up to believe in those qualities, because the leading man does? Certainly Hepburn could be cute and charming, but in a movie like "Unforgiven" John Huston didn't tap into it at all---"the lilting cadence of her voice" just seemed irritating. As one critic said, in her worst movies, she has "all of the model's narcissism and none of the actress' personality." But Burt Lancaster was supposed to be as charmed in that as Cary Grant was supposed to be in "Charade." Yet one was cute and charming, one was boring as hell.

Grace Kelly as well---she is obviously just as beautiful as she ever is in "High Noon"---but nobody fell in love with Grace there. Actually, no public energy at the time got going for her in "Dial M For Murder"---it was actually "Rear Window" that got the Grace craze going. Wonder what the difference is. It obviously has something to do with character and situation, and just the actress.

I read once where someone said that one quality shared by the actresses on your list is that "they never seemed all that 'real' in the first place, but very much a product of celluloid fantasy always." They were speaking specifically about Hepburn and Fred Astaire in "Funny Face"---and saying that was true about both of them. I always think of Hepburn and Caron more like this than Kelly.

Hitchcock tried his best to set Eva Marie Saint up just as nicely in "North By Northwest" as he ever set Kelly up---yet it didn't quite work.

Posted by: annette on January 27, 2004 11:33 AM

I would nominate "Night of the Comet" in which there are two rather touching performers.

Posted by: Friedrich von Blowhard on January 27, 2004 11:35 AM

Oh yeah, and I do remember "Shag." I'm a bit dim on the plot, but with a certain fondness for Brigit Fonda calling people "sweet potatoes."

Posted by: Friedrich von Blowhard on January 27, 2004 11:57 AM

"So flowerlike and hopeful, so silly and fervent, so pretty and funny and forlorn ..."

May I suggest Natalie Portman in "Beautiful Girls'?

Posted by: Tim B. on January 27, 2004 12:35 PM

Good ones all, thanks, although I'll have to take Audrey Tatou on faith, not having seen "Amelie." Early Jane Fonda's an inspiration --- I nominate her in "Barbarella," where she was sweet and charming in a way she threw over once she decided to be a serious person. But she evidently had that will of iron beneath all along. Did anyone else read Roger Vadim's autobiography? He's very funny about life with Jane. He confesses that he found her so full of determination and drive that he was cowed and impotent through their honeymoon.

Annette's question's a great one: what is this quality anyway? And why does it take effect in some cases but not in others? Some may shoot me for saying this, but I seldom find the gal leads in modern romantic comedies as charming as the producers seem to hope I will, and I'm not sure why, since the actresses themselves are often appealing. Are they being oversold?

Oh, that reminds me that semi-disproves my own rule: how about Cameron Diaz in "There's Something About Mary"? It's not like she makes me misty-eyed, but she's certainly funny and sweet. One of the few cases of the new-style rowdy, uninhibited girl not losing all her femininity. IMHO, of course.

Posted by: Michael Blowhard on January 27, 2004 12:57 PM

I heartily second Natalie Portman in "Beautiful Girls". UNBELIEVABLE. A 14 yr old girl steals the movie from Michelle Pfiefer(sp) and a couple other heavyweights.

I absolutlely fell in love with the female lead in "State and Main", Rebecca Pidgeon. She is so warm and charming, yet a Mainer to the core. Didn't know that combination was possible.

Penelope Cruz in Vanilla Sky charmed my socks off. She was carried over from her performance in the original Spanish language version (so I had to go watch that too, interesting -- it's the rare case of the Hollywood remake being better than the low budget foreign indie original).

Posted by: Robert Holzbach on January 27, 2004 1:02 PM

Well, I assumed you were always talking about characters and not the actresses themselves! Don't kid yourselves---all the actresses on this list (kelly and Hepburn and Caron most certainly among them!) had a will of iron underneath---NOT of course that anyone should be presuming that made them less fascinating. Vadim just sort of undermines his whole swordsman rep through his silly admission about his honeymoon. It's hardly as if he and Jane hadn't already been together for several years when the honeymoon took place! What a dope.

Posted by: annette on January 27, 2004 1:26 PM

Charlotte in Lost in Translation may appear to be a little too tough and sardonic to fit the bill, but I think that's an act of hers--one that she drops when she's with Bob. Yet the scenes that make me want to add her to your list are mostly the ones in which she's alone. They alternate between stuck-in-the-hotel-room scenes, where she's most wistful and vulnerable, and out-and-about scenes, where she's looking for experience and seems like the personification of openness to the world. The flower-arranging scene is beautiful for this, all her shy deference to the older Japanese women getting in the way of her instinctive curiosity. I think it's the one time that she's invited to step into the culture that she usually views from off to the side, as though it's in a frame. The awkward delight-but-hesitancy with which she responds is so touching.
I don't put much stock in the Oscars, but I do wish Scarlett Johansson had been nominated for this performace.

Posted by: ogic on January 27, 2004 2:03 PM

How about Goldie Hawn in "Cactus Flower"? She won an Oscar for her role.

Posted by: blue on January 27, 2004 4:08 PM

Didn't catch "Homefries," but Drew was most lovable in
"The Weddding Singer."

Posted by: Michael C on January 27, 2004 4:12 PM

I'm all for Irene Dunne.
And Mary Astor in Dodsworth

Posted by: James on January 27, 2004 5:13 PM

To MBlowhard's question---I'm not quite sure if today's actresses are "oversold" as much as I don't think they are given enough to do. Part of what makes some of these performances "heart-tugging" is the dynamic between "charming" and "ditzy" and "sexy"---and "brave" and "resolute." What makes Goldie Hawn so moving in "Cactus Flower" isn't just her Laugh-In goofball persona---it's also at the end when she realizes Walter Matthau has been deceiving her and she says, "He loves me...he believes in me..." and then sighs, "He...lied to me..." It's moving because her character has to be brave, and grow a little. Audrey Hepburn is very brave in "Charade." She's also very brave in "Roman Holiday." What completes the full breadth of that character is not just the lovely princess on a lark. It's when she chooses to return to her royal duties, and her bullying lady-in-waiting is clucking around saying "Don't you understand your responsibilities to your subjects?" And Hepburn draws herself up and says "If I didn't fully understand my responsibilities to my country, I would not have returned tonight, or, indeed, ever at all." Really quite breathtaking. What equivalent "growth" did Meg Ryan have in "You've Got Mail." To finally realize Tom Hanks is a cute guy? Julia Roberts figures out that hanging out with a millionaire is better than being a hooker? I mean, c'mon. IMHO.

Posted by: annette on January 27, 2004 6:02 PM

I found Ashley Judd utterly charming, sweet, and lovely in "Simon Birch." The movie was mediocre, but her character was attractive in many different ways. She played a young mother, too, and perhaps the way she cared for the little boys added to her attractiveness, even if those responsibilities took away some caprice.

I also have a certain fondness for Jennifer Connelly. Unfortunately, I can't think of any recent roles in which she fit Michael's description, and I believe it's almost a shame that, whenever she performs in a serious film, she tends to play tragic characters.

Posted by: Robert Tagorda on January 27, 2004 6:18 PM

Annette -- Yesyesyes. I think you've got a good essay in you about gals and charm and movies and all that -- hard-to-talk-about stuff, but you're showing how. What role do you think the audience (and the time generally, as in the era) play in the equation? Does the world have to be ready for it? It's as though what these movies and performances discover is some vulnerability in people they weren't aware of ... I'd love to hear how you react to the Vadim autobio, by the way. He's got that Euro-roue's way of telling tales about the times he was impotent that only makes him seem like even more of a man of the world.

Robert -- Portman was amazing in that movie. I forget who the other actors were. I wonder what's become of her. One of those kids who loses her talent when she grows up. Such an interesting moment for the camera to catch her at. What was Britney's immortal line: no longer a girl, not yet a woman, something like that? And you're right, Cruz does have a lot of charm. She was a dancer, if I recall, and so was Hepburn. I wonder if that ballerina poise (that knowledge about self-presentation, and the stylization) helps the illusion along.

OGIC -- Scarlett was mighty cute, wasn't she. I suspect I'm alone in the world, though, in not being charmed by her or the movie. Coppola's got a talent for drawing the viewer into a kind of damp, intimate relationship with her gal performers (she had that in "Virgin Suicides" too), but for some reason I don't wind up finding them enchanting. Probably the crank in me. Still, those Scarlett lips ...

Oh, right: Goldie had a glow in some of those roles. Did anyone see her in that Florida-set picture where she worked for a bit as a stripper to support her son? She was quite touching and messed-up. Or in Demme's cut of "Swing Shift," where she was goofy and plaintive all at once.

James: Dunne sometimes did have a musical quality, didn't she? I'm a huge fan of "The Awful Truth," which I'd argue with a perfectly straight face is a masterpiece, and she was a big part of that. I don't remember Astor in "Dodsworth" as clearly as I should, though I loved the movie. But you're making me think of Hepburn in some of her more painful roles, like "Alice Adams" -- touching, pretentious ... But maybe too highstrung to be really "charming"? I'm not sure ...

Posted by: Michael Blowhard on January 27, 2004 6:25 PM

You can't get much sweeter than Olivia Williams in "Rushmore".

Posted by: Bill on January 27, 2004 7:16 PM

First of all, seconds to Olivia Williams in Rushmore and Drew Barrymore in Wedding Singer,and thanks for dunning Meg Ryan in You've Got Mail (faux cute).

Guilietta Masini in La Strada. Gloria Grahame in both Wonderful Life and Oklahoma. Not quite consistent with the list but the younger actress in Crouching Tiger Hidden Dragon (okay maybe the opposite of this list but I just can't help it). Leslie Mann (!) in George of the Jungle.

Posted by: Tom on January 27, 2004 9:20 PM

Dunne is THE overlooked movie star of the 30s and 40s. "The Awful Truth" is my favorite film of all time and Dunne and Grant were perfection in it. Other charming Dunne performances can be found in "Show Boat", "Theodora Goes Wild", "Love Affair" and "My Favorite Wife" among others.

What is interesting about Dunne is that she became a star at a relatively old age (she was the same age as Dorothy Gish and Marie Prevost). Dunne was 39 in "The Awful Truth" and 47 in "Anna and the King of Siam". Andrew Sarris points out that she may have been the only leading actress to become a star despite not having made a film in her 20s.

Posted by: grandcosmo on January 27, 2004 9:39 PM

It's interesting that you bring up "era", because others have noted that women were really far more three-dimensional and interesting in movies BEFORE they had as many actual three-dimensional options IN LIFE. The women's movement screwed up gender relations so badly for awhile that the roles for women evaporated when men in Hollywood no longer knew what to do with them in real life. It's like it was OK to make Kate Hepburn a political columnist in "Woman of the Year" when no woman in real life had that role! (Of course, they also made her pay a price for it in the movie, by almost losing Spencer Tracy when she focused on her career. Shame on her! She needed to learn her "true place"---which is why they have her fumbling around trying to cook breakfast for him at the end of the movie. I don't know. With those legs and that brain---d'ya think Katie really needed to cook to catch Spencer?).

I think it's possible that movies have just forgotten how compelling it can be to see someone grow up a little bit, to see that life requires some depth and to see someone who may start out "just cute" become "luminous" as life requires some choices and hurt and growth--and depth. However cute these characters you've discussed are, none of them are just scenery or adornment in the movie. There's a real character arc there. (One funny story about Grace Kelly is that she went on suspension at MGM because she didn't want roles where the only stage directions for her character were "She clutches her jewel box and flees.").

Kate Hepburn may or may not seem cute and charming to all moviegoers, but one of her most riveting moments on screen was in "The Philadelphia Story" when her eyes fill with tears when father says to her, "You have a good mind, a pretty face, and a disciplined body that does what you tell it. You have everything it takes to make a lovely woman except the one essential---an understanding heart." Wow. Who plays scenes like that today?

Posted by: annette on January 27, 2004 9:40 PM

Michael, Michael, Michael. I know it's been mentioned already, but if it's hopeful, fervent, and forlorn you want, go out and rent Amelie immediately. Audrey Tautou makes Cameron Diaz seem about as funny and sweet as Barbara Streisand.

Posted by: Juno on January 28, 2004 12:41 AM

And then there is the sweetest of them all: the cutie (and Oscar nominee) girl from Whale Rider, Keisha Castle-Hughes. What an actress!

Posted by: Martine on January 28, 2004 12:54 AM

For some reason we're all forgetting Shirley Temple. Or darling little Margaret O'Brien. (Hey, if we're going to infantilize women in the movies, we might as well go all the way, what?)

Posted by: Tim Hulsey on January 28, 2004 3:52 AM

Poor Babs. Always the target. Go back and see "On A Clear Day You Can See Forever." She's plenty funny and sweet. To Mr. Hulsey's point---also Elizabeth Taylor in "National Velvet". Or even better, "A Place In the Sun". Plenty sweet. In the latter, she's also plenty ravishing. Interesting how rarely Liz comes up as a film actress, and yet what an interesting actress she actually was, in her day.

Posted by: annette on January 28, 2004 8:46 AM

i want to nominate reese witherspoon in the two Legally Blonde comedies. These roles must be contrasted with her earlier performance in Election.

and what about Doris Day???

Posted by: tony on January 28, 2004 11:07 AM

OKOKOKOK, "Amelie" and "Whale Rider" have now moved to the top of my must-rent list. Whew, the peer pressure can get intense around this joint. Although I suspect I'm going to pass up "Rushmore," with apologies: something about Wes Anderson rubs me the wrong way. I think Ashley Judd is often charming too, and sometimes Charlize Theron too, sometimes in a B-movie-moll kind of way ("Reindeer Games") and sometimes more straightforwardly ("Cider House Rules"). Doris Day? Hmm. I find her early big-band-jazz singing very charming, and some of her screen appearances undervalued, but mostly her onscreen charm doesn't work for me. But you're right, there it is.

I'd actually been thinking about including E. Taylor in "National Velvet" (talk about beautiful and touching). I'd been thinking about including some early Streisand too, but didn't have Annette's guts. Did no one else (besides Annette 'n' me) find her touchingly absurd in some of those early, pre-battleax movies? I confess that I was much touched by her in "Yentl" too, but now I really do have to run from the room before too many tomatoes and onions come flying at me.

Tim -- Do you think it all has to do with infantilization? I think there's something to the idea, but I'd tweak it a bit. Maybe part of the "charm" thing is that through the woman you can see a girl's hopefulness, sweetness and ardour. "Freshness" certainly seems to be part of it. But is that us (and the industry) infantilizing the characters, or enjoying seeing the girl within? Probably both, or better yet, probably depends on the specific instance, now that I float the idea ...

And there's also the quality of stylization, and often a rather ballet-like stylization. I (to my shame, apparently) haven't seen "Amelie," but one of the reasons Frenchwomen often have "charm" is that they're often raised and trained quite strictly -- they become these rather exquisite/tragic/funky/precious creatures, rather like ballet dancers. (I'm told that this is vanishing, by the way.) It can be seen as offensive, I suppose, but it can also be seen as quite a wonderful cultural creation: "the Frenchwoman." All those poised, slim gals conducting affairs in Eric Rohmer movies, for instance. Or Elsa Zylberstein, one of my current French faves, who actually trained as a ballerina.

Which raises another question: the various different cultural traditions of charm. For instance: Where French charm can be a rather tortured, "created" thing, American charm often seems to have to do with spontaneity, freshness, and even a kind of klutzy physicality. Hmm, I'd overlooked British charm completely, and British actresses often have it: Wendy Hiller in "The Importance of Being Earnest," for instance, is a winning combo of primness, naughtiness, physicality and style.

Are there countries without a tradition of charm? I wonder. Much as I adore much Italian art, I don't find that they work the charm angle much. Is this just me, though? Offhand I'd have thought that Spain doesn't either, but Robert reminded me of Penelope Cruz, so maybe they do. Mexico?

Hey, does Germany have a tradition of charm? Kind of a scary thought, I don't know why ...

Posted by: Michael Blowhard on January 28, 2004 11:53 AM

Thanks for this tread now I have my pleasant movies'list complete!
Myself, I love Audrey - most of all in "Breakfast @ Tiffany", and - thanks, Annette, I didn't analyze before- why; now I think your explanation of inner growth and bravery under fragility applies here.
Russian examples, since Michael asked (not that I hope anybody here had seen it):
-Luidmila Savelieva as Natasha Rostova in old "War and Peace" by Bondarchuk (the movie itself is a Soviet commerse, but she is adorable)
- Any role of Marina Neelova, especially in "An autumn marathon", and I remember her because of that "lips" remark by Michael. Oh, my, that shaking puffed lower lip when Oleg leaves her!
- Margarita Terekhova in any Tarkovsky film, but best in "The Mirror", in the lovemaking/levitating scene...

Posted by: Tatyana on January 28, 2004 12:53 PM

Perhaps, judging from the comments, we could simultaneously create a list of greats, make that "grates." This would be the negative space to the current list: actresses whose attempts to qualify for these qualities end up making some of us run screaming in annoyance.

Actresses in this school (not method nor Stanislavski) learn a few rote gestures, among them the crinkling of nose a la Meg Ryan in You've Got Mail and Sleepless in Seattle, the "surprising" burst of radiant smile from Julia Roberts in, um, everything, the downward pout of Neve Campbell in, again, everything. Many actresses that once occupied the good camp (say, Drew Barrymore in Wedding Singer) unfortunately drift....

I welcome candidates to this list.

Posted by: Tom on January 28, 2004 3:17 PM

You don't think Sophia Loren is charming? Or was she too overtly adult and sexy to qualify for "girlish charm"?

Posted by: annette on January 28, 2004 4:15 PM

This is a great thread, I wish you would start one on the style "Glamorous." DOes this category exist any more? Who is a glamorous movie star today?

Posted by: TONY on January 28, 2004 6:47 PM

I was also going to say "Rushmore", but for Sara Tanaka rather than Olivia Williams. Williams just seemed to be, well, the perfect first-grade teacher.

Also the Winona Ryder role in "Celebrity", and of course Drew Barrymore as "(There's Something About) Mary". And Naomi Watts in "Mulholland Drive", at the times when she wasn't being her jaded real character's exaggerated fantasy of an innocent alternative existence.

As for "glamorous", I don't think there are any really famous actresses who can maintain a non-sordid image. Catherine Zeta-Jones gave it a try. I think "glamorous" women are now relatively anonymous types like Marcia Gay Harden and Catherine Keener.

Posted by: Cryptic Ned on January 28, 2004 10:42 PM

I absolutlely fell in love with the female lead in "State and Main", Rebecca Pidgeon. She is so warm and charming, yet a Mainer to the core. Didn't know that combination was possible.

I think Rebecca Pidgeon has been the female lead in every single David Mamet movie and no other movies. This has required her to play a wide variety of roles, including short-haired badass in "Heist", coldblooded assassin in "The Spanish Prisoner", and eventually the role that she was much more suited for in "State and Main". I agree fully with that choice.

Oh, and I was casting about for fifteen minutes trying to remember which role I was thinking of as the most charming young woman ever...all I could remember was short dark hair and the voice; first I thought it was some Rebecca Pidgeon role, and then I went over Winona Ryder's filmography repeatedly, before remembering that it was Liv Tyler in "Cookie's Fortune". That's a great role and movie.

Aside from "That Thing You Do", I don't like her in anything else.

Posted by: Cryptic Ned on January 28, 2004 10:49 PM

I heartily second Natalie Portman in "Beautiful Girls". UNBELIEVABLE. A 14 yr old girl steals the movie from Michelle Pfiefer(sp) and a couple other heavyweights.

Michelle Pfeiffer wasn't in "Beautiful Girls." I love Natalie Portman, and it's a shame to see how little George Lucas knows how to use her in the "Star Wars" movies, but it's not hard to steal a movie from someone who never had it in the first place. Who are you thinking of? Lauren Holly? Martha Plimpton? Not exactly heavyweights. Uma Thurman? Maybe, but she had a tiny part and Uma is not without her own charms. (Ethan Hawke is a fool.)

And I heartily endorse the inclusion of Sara Tanaka in "Rushmore." As Max manipulated everyone else, Margaret Yang was the only one who was able to manipulate Max, and was adorable as she did it.

Posted by: GC in CA on January 29, 2004 3:15 PM

Hey, does Germany have a tradition of charm?

I dunno -- Zarah Leander, maybe? For some reason, I can't think of any nominees outside of Nazi cinema. Maybe that has to do with the whole "infantilization of women" thing, because it's hard to find that in German cinema outside of the Nazi era.

For a French example of what you call "charm," I nominate Anna Karina from those early Godard films. (Insert post-coital "Oof!" here.) But her slightly overripe quality of innocence is precisely what has led critics to dub Godard a misogynist -- she's too obviously a masculinist construction to be believed as a human being.

On a side note, what really gets me in Wizard of Oz is Judy Garland, trying to be ootsy-cutesy a la Shirley Temple and failing miserably at it. (At least George Cukor had the good sense to take out those horrible curls before filming began in earnest.) Charm seems to fail her, but it leaves something more interesting in its stead. Call it chutzpah ...

Posted by: Tim Hulsey on January 29, 2004 7:30 PM

May I humbly suggest a couple of contemporary actresses who showed much charm in two particular films:

Gwyneth Paltrow in "Emma", and Helena Bonham Carter in "A Room With a View".

I'm melting a little now, just thinking about them.

Posted by: Little John on January 30, 2004 2:34 AM

Ok, all of you turn in your man cards. You probably should be suspended till you start talking like men again.

Posted by: ShipShape on January 30, 2004 3:48 PM

Julia Roberts in Notting Hill.

Posted by: Arun on January 31, 2004 11:54 PM






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