Illustrious celebrity mag People just released its equally illustrious Most Beautiful People edition. Well, by “just released,” we mean the magazine is out on the East Coast, but the rest of us may have to wait as long as April 26. Alas.
The 2013 cover girl is Gwyneth Paltrow. But more interesting to us is the news that Dallas star Linda Gray has been honored with the title of Most Beautiful Legs. The 72-year-old beauty, who was photographed by Robert Erdmann, is draped in faux fur to show off famous gams.
Famous because it was Gray’s leg, not that of Anne Bancroft, that everyone recognizes from the movie poster for the 1967 film The Graduate — a gig she got as a young model. On Anderson Live, she told host Anderson Cooper, “I think [Anne Bancroft] was absent that day. I got paid $25. For one leg, that was good.”
Gray is currently starring in the reprise of the iconic TV show Dallas on TNT. Theater and TV critic Elaine Liner has remarked that Gray is the star of the show, especially in light of Larry Hagman's death, and she her acting has only continued to get better with age. In her recap of the season two finale, Liner wrote:
Before we tie up the loose ends of this year’s storylines, let us do a deep debutante bow to Linda Gray, the 72-year-old actress who plays Sue Ellen Ewing, now the matriarch and Lady Macbeth of Southfork and Ewing Energies.
Nobody works a white pantsuit and shiny bangs like this woman. She came, she acted drunk, she conquered the spotty writing and hacksaw editing of a cable TV reboot. And she and she alone, after the death of Larry Hagman, made this show watchable.
Linda Gray's Most Beautiful Legs in People magazine.
Photo by Robert Erdmann
Linda Gray's Most Beautiful Legs in People magazine.
For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.
The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).
Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.
Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.
The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.
Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.
A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.
There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.
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Avatar: Fire and Ash opens in theaters on December 19.
