Fabrizio del Wrongo writes:
Netflix is currently streaming a documentary on the Carter family, called “The Winding Stream.” It includes so many fab songs and performances that it’s almost beyond criticism. So profound are the depths of the Carters’ talent, beauty, and influence that I spent most of the movie appreciating their existence rather than worrying about the movie’s structure, the information it imparts, and so forth.
I’ve long nursed a significant crush on June Carter, the willowy cutup of the brood, but this performance by her sister Anita has me ready to transfer allegiance.
In this clip Anita exhibits a moodiness, sultriness, and intensity that wouldn’t be out of place in one of Bergman’s ’50s films, particularly the ones starring Harriet Andersson.
That look she darts at Williams! Is it fair to say it’s the sort of thing, ephemeral though it is, that draws men to women? It is, I think, the sort of thing we men — unsophisticated louts that we are — understand as love, or at least what we understand as its most immediate physical manifestation. There’s much that’s endearing and arousing in a look like that, but much that’s terrifying too. It’s a look that has no bottom, no tether. It’s the look the mermaid gives to the wayward sailor — a look unbounded by the consideration of consequences.
Does Anita really love Williams or is she acting? Are they ever not acting? Where does the performance end and the woman begin?