Double feature: These two films are essentially mirror images of each other. Their plots are the same – a worldly schemer attempts a romantic con on a wealthy but naive amateur biologist; a series of witty, swanky hijinks ensue. But in “A New Leaf” the “mark” is female, whereas “The Lady Eve” reverses the gender assignment –and that makes all the difference.
Double feature: The prevailing genealogy of “Blue Jasmine” and its eponymous heroine involves “A Streetcar Named Desire,” the Madoffs, and the personality/mannerisms of a New York art gallery owner who came within Woody Allen’s ken. My personal theory involves the director (subconsciously?) crafting a take on the personality of, and everlastingly contentious end of his relationship with, Mia Farrow.
Double feature: There really aren’t that many movies featuring the Thanksgiving holiday, even tangentially. If you’re looking to branch out beyond “Planes, Trains & Automobiles,” “Home for the Holidays,” and “Hannah and Her Sisters,” consider a double feature of “The Birdcage” and “Women on the Verge of a Nervous Breakdown.”
Double feature: “Cactus Flower” and “Christmas in Connecticut” are two films whose humor stems from an invented domestic life with imaginary family members. In the former, the made-up family is a compassion-inducing source of woe; in the latter, it is a beacon of bliss from which others take comfort.
Double feature: The protagonists of both “Tootsie” and “Superman” successfully carry off disguises that should be more transparent to their fellow characters than they are. The question is why – or, rather, how. This believability gap can’t be fully explained by our privileged knowledge, as viewers, of the heroes’ true identities.