The New Yorker is a weekly magazine with a mix of reporting of politics and culture, humor and cartoons, fiction and poetry, and reviews and criticism.
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"The power to seem active while doing nothing is the crucial trait of classic-era movie stars; it’s the defining aspect of what it means to be loved by the camera. … It’s the part of acting that can’t be learned and can’t be trained, and Lohan—perhaps more than any actor of her generation—has it."
Look at Marilyn Monroe, about twenty seconds into the clip, when a journalist “asks,” without a question mark at the end of the sentence, “You’re a happy girl now.” The infinitesimal silence that goes with her dubious glance—a tightly controlled eye-roll—away from the interviewer, followed by her ironic verbal shrug (a melodic “uh-h” with a subtly derisive smile), suggests the equivalent of, “You have no idea.” It’s in that sudden abyss of true and horrific emotion in the midst of the most conventionally candied context that encapsulates Monroe’s art—and art it is…
Lohan’s performance (not her impersonation) is thrillingly immediate, not a composition of interpretive pieces but an incontrovertible, full-spectrum presence, even if the mirror itself is broken and some shards of character are still missing from view.