Calendar Girl


Ruth Finley hasn’t quite been covering fashion since these columns were new.

(2020) Documentary (DitlevRuth Finley, Kathleen Turner, Tommy Hilfiger, Betsey Johnson, Bill Cunningham, Joseph Siegel, Carolina Herrera, Gael Greene, Diane von Furstenberg, Nicole Miller, Larry Lein, Mickey Boardman, Harold Koda, Ellin Saltzman, Mary Packer, Steven Kolb, Ralph Rucci, Garry Wassner, Debbie de Monfort, Ruth Thale, Andrew Bolton, Nanette Lepore. Directed by Christian D. Bruun

There is no doubt that New York is one of the primary stars in the fashion constellation. It is chock full of events from showings to preview parties to honors ceremonies. Keeping track of everything is a full-time job, but a necessary one for the industry to function.

For 65 years, Ruth Finley, founder and editor of Fashion Calendar, was the glue that held the industry together. Her calendar, which appeared weekly for a time and then bi-weekly and printed on distinctive pink paper so it could be found quickly on a cluttered office desk, became a bible allowing buyers to make sure they were getting to all the events they needed to, and for designers to maximize attendance at their shows.

Finley, a tiny woman towered over by statuesque models, made this her life’s work and a labor of love it was too. With a small staff (which at one time included future Emmy-winning actress Doris Roberts), she kept track of everything fashion going on in the Big Apple, a kind of oasis of order amidst the chaos. In an industry where ego was big and tantrums were often bigger, Ruth was different in that she was kind, and helpful, particularly to new designers trying to establish themselves in one of the most notoriously cutthroat industries in the world.

Finley is naturally a modest woman but also possessed with a core of steel; she was a career woman in an era when that was exceedingly rare. She also divorced her first husband in 1954, an era when that was scandalous, and after her second husband died suddenly in 1959, she became a single mom, something very rare for that era. She remained so for the rest of her life, never remarrying although towards the end of her life she did have a boyfriend (Joseph Siegel, a former executive at Macy’s).

She did things her own way and was stubbornly analogue even when she was pleaded with to put her magazine online. She worked into her mid-90s, reluctantly selling Fashion Calendar to the Council of Fashion Designers of America who did eventually put the magazine online, discontinuing its print edition but in tribute to the magazine’s founder, kept the color of the calendar pink.

Bruun takes a fairly conservative approach to the documentary, relying mostly on talking head interviews with friends, family and admirers of Finley, interspersed with archival footage and photographs from both Finley’s personal life and from the fashion industry in general. It does get a bit hagiographic after awhile, but the more Finley is on-camera, the more you realize that the admiration is well-earned. Finley is the film’s secret weapon; charming, self-effacing and joyful about an industry that she loved. In her mid-90s for most of the film, her energy and joy is infectious. Yes, this is mostly going to appeal to those who love fashion and in particular the New York fashion scene, but documentary buffs will get a kick out of Finley who will charm even the most curmudgeonly viewer.

The movie recently made its world premiere at DOC NYC and remains available for virtual viewing at the link below through today. While it has yet to get a distribution deal, it is extremely likely that it will see at the very least several film festival appearances this fall, as well as some sort of distribution or streaming deal at the very least. Keep an eye out for it.

REASONS TO SEE: Finley is a delightful subject.
REASONS TO AVOID: May not appeal to non-fashionistas.
FAMILY VALUES: There are some adult themes.
TRIVIAL PURSUIT: Finley passed away in August 2018, three years after filming was completed at the age of 98.
BEYOND THE THEATERS: Virtual Cinema
CRITICAL MASS: As of 11/19/20: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Iris
FINAL RATING: 6.5/10
NEXT:
A Crime on the Bayou

Baby Mama


Tina Fey is just miffed that Amy Poehler won't share the Pringles.

Tina Fey is just miffed that Amy Poehler won’t share the Pringles.

(2008) Comedy (Universal) Tina Fey, Amy Poehler, Greg Kinnear, Steve Martin, Dax Shepard, Sigourney Weaver, Maura Tierney, Holland Taylor, James Rebhorn, Will Forte, Fred Armisen, Romany Malco, Denis O’Hare, Stephen Mailer, Siobhan Fallon Hogan, Kevin Collins, John Hodgman, Thomas McCarthy, Jason Mantzoukas, Dave Finkel, Felicity Stiverson.  Directed by Michael McCullers

Starting up a family is always something of an overwhelming proposition, never more so for a single parent who intends to stay a single parent. It is darn near impossible for an infertile single parent.

Kate Holbrook (Fey) is a capable, ambitious woman and that has played out into an executive position for a health food store chain, a beautiful apartment in Manhattan that is absolutely empty when she comes home. Not that she’s complaining, mind you – she owns her choices, after all. However, she is feeling her biological clock ticking down. She wants a baby in the worst way, and in her own organized fashion is doing what it takes. She’s tried adoption, and has been turned down. She’s tried artificial insemination, but her doctor (O’Hare) informs her that her uterus is not really suitable for impregnation and that an actual pregnancy would be a one in a million shot.

Desperate, she decides surrogacy might be the answer. She goes to the Chaffee Bicknell agency, whose titular head (Weaver) is despicably fertile, but promises to get a surrogate mother for Kate’s baby that passes the most rigid scrutiny. Chaffee sends Kate to Angie Ostrowski (Poehler), who couldn’t be any more different from the prim, cultured Kate. While Kate frets over every detail, Angie tends to be less detail-oriented than, say, a ten-year-old. While Kate keeps her apartment neat and clean, Angie prefers a more let-it-all-hang-out attitude. Kate dresses in smart business suits; Angie’s style can only be described as rural whore. In fact, if there were trailer parks in New York, Angie and her conniving boyfriend Carl (Shepard) would probably be living in one. If Kate is Masterpiece Theater, Angie and Carl are The Dukes of Hazzard.

Despite this, the two women find themselves bonding against all odds and decide to go through with the pregnancy. Not long after, Angie and Carl have a big fight and Angie shows up on Kate’s door, having nowhere else to go. Now, instead of preparing for a new baby in the home, Kate is having to live with a woman whose maturity level isn’t far above the baby she’s carrying.

The stresses begin to pile up. Kate is given a huge project at work by her new age boss (Martin) that may make unwelcome changes to a neighborhood, whose residents are not happy about the prospect, led by the handsome smoothie store owner Rob (Kinnear) who Kate is beginning to develop feelings for. On top of that, Angie is driving Kate crazy, and doesn’t appear to be all that concerned with the health and well-being of the baby – and Angie’s sins are rapidly catching up with her. Kate’s dream of being a mom is beginning to look like a longshot at best.

Fey has proven herself one of the funniest women working today, and those who loved her on 30 Rock are going to love her here. Poehler, so good in Blades of Glory and on SNL, does some of the best work of her career here. Martin, who has been mostly sticking to family comedies, returns to the silliness that characterized him in the ‘70s. Kinnear has carved out a niche as the nice, solid guy and makes a fine foil for Fey – hey, alliteration! ER’s Tierney plays Fey’s married mom of a sister and performs capably. Worth mentioning is Holland Taylor as Kate’s overbearing mom – she’s one of those dependable character actresses who almost always improves every movie she’s in. Shepard does the sleazy manipulator as well as anyone – if you saw him in Let’s Go to Prison, you pretty much know what to expect here.

Fey and Poehler work exceedingly well together, so much so that it leaves you hoping that they will continue to make movies together although as of yet they haven’t. The laughs come crisply but not at the expense of the characters and story.

This is definitely aimed at a female audience, and I found Da Queen laughing much more at things that only puzzled my poor, underdeveloped male brain. Not relating with the messy details of pregnancy and birthing, I found myself having a hard time relating to characters going through it and wanting to go through it.  .

Think of this as a chick comedy. If you’ve had a baby, or are pregnant, you are going to find this much more funny than the rest of us. That doesn’t mean that it’s completely without redemption, however. Fey and Poehler are a very good team, and their scenes together are the highlights of the movie. Bottom line, this is pretty well-written and plotted, although it isn’t difficult to discern where this is heading.

WHY RENT THIS: Great comedic chemistry between Fey and Poehler. Women tend to find this funnier than men do so if you’re of the fairer sex, this works nicely. Great support cast.

WHY RENT SOMETHING ELSE: Women tend to find this funnier than men do so if you’re of the male sex, this might be too much for you. Predictable in places.

FAMILY MATTERS: Plenty of jokes about female plumbing. There’s also some foul language and a drug reference.

TRIVIAL PURSUITS: The Boo Boo Busters company that professionally childproofs Kate’s home is based on a real company by the same name in California. They supplied many of the child safety devices seen in the film, including the infamous toilet seat lock that “doesn’t work.”  Poehler eventually used that company to childproof her own home when she had children.

NOTABLE HOME VIDEO FEATURES: There is a featurette on Saturday Night Live and its influence on the movies.

BOX OFFICE PERFORMANCE: $64.2M on a $30M production budget.

COMPARISON SHOPPING: Knocked Up

FINAL RATING: 6.5/10

NEXT: The Housemaid