Natasha Russian Teen
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Chris Pratt at 'The Tomorrow War' Premiere
Two decades before her turn as the gruff-voiced, sardonic Nadia on the existential dramedy “Russian Doll,” a teenage Natasha Lyonne played DJ, the
chirpy narrator in Woody Allen’s 1996 whimsical romantic-comedy musical “Everyone Says I Love You.” Lyonne’s name first appeared in Variety on Dec. 2, 1996, in a review of the Allen film.
In the next few years she went on to star in a number of raunchy teen comedies, including “American Pie,” “But I’m a Cheerleader” and “Scary Movie 2.”
She recently wrapped up her role as Nicky Nichols (aka Junkie Philosopher) on the final season of “Orange Is the New Black.”
“Russian Doll,” which she stars in and co-created alongside Amy Poehler and Leslye Headland, has 13 Emmy nominations and is set for a second season.
When you look back at teenage Natasha Lyonne in “Everyone Says I Love You,” what do you see that’s changed?
Drew Barrymore Regrets Working With Woody Allen, Was ‘Gaslit’ Into Dismissing Allegations
I was attending Yeshiva. I was a teenager and a stoner, and I was superstitious. Two of those things are no longer true. I was sent to Woody Allen’s office. I wore an ankle-length khaki skirt and Rollerblades. I’ve since heard the rumors you weren’t supposed to talk when meeting Woody. When he asked me how I was doing, I launched into a monologue about my parents getting divorced and moving to Israel to salvage the marriage, and it was a scam, and studying Talmud was a real nightmare on my psyche but I enjoyed it, and the kids were real scumbags, and then Rollerblading was hard but a good way to get around. Forty minutes later, [he said]: “This makes sense that it would be mine and Goldie Hawn’s over-talking daughter [in the movie].”
I think I was expelled [from Yeshiva] for selling weed and booking the Woody movie. I had this incredible tutor, Karen Cooper. She spent most of our time teaching about surrealism. She was into me studying André Breton and Salvador Dalí. Those were the three big events that shaped this bizarre twist from a child actor struggling in Minute Maid commercials. All of a sudden I was No. 1 on the call sheet with all these incredible legends.
All that went into a saucepan with a healthy amount of pot smoking and LSD, and that became a formative time. I remember dressing Natalie [Portman] up in Oakleys and my rave outfits and having her do this bizarre photo shoot in the room. And doing this final rebellious act of ordering bacon from room service in front of Gaby [Hoffmann] and Natalie to show off how tough I was — going to break Halakha law and eat pork for the first time.
Was acting your idea or your parents’ idea?
It was my parents’ fantasy to materialize their very own Shirley Temple; that was going to pay the bills. Sadly the money was spent. My big dream was doing enough commercials to get a Lamborghini someday. I’ll tell you how many Lamborghinis I have: zero.
Now as a director, my language for sets and crews is so woven into the fabric of my being. The horrors of a lifetime are paying major dividends in terms of ease and comfort as an architect and a creator and director. It’s 35 years of experience. There’s plenty of print on the ways in which I got waylaid, but it’s funny to find myself in many ways where I left off as a 16-year-old kid with big dreams. In some ironic adult-person way, now I’m just fine with how it all went. I forgive my parents for the weirdness of having me suited up with a briefcase as a 6-year-old. If you asked me that at 25, when times were tough and lean, I would think it was a pretty crazy idea on their part.
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Black Widow review – Scarlett Johansson, the Russian super spy with an electra complex
Great fun is had in giving us the backstory to the assassin’s place in the Marvel Cinematic Universe
It’s a family thing … Scarlett Johansson as Natasha in Black Widow. Photograph: null/AP
Last modified on Wed 30 Jun 2021 23.59 BST
The sensuous cough-syrup purr of Scarlett Johansson’s voice is something I’ve missed in lockdown; now it’s back with a throaty vengeance in the highly enjoyable standalone episode for which her character Black Widow was well overdue. It is co-written by WandaVision creator Jac Schaeffer and directed with gusto by Cate Shortland, with touches of Terminator 2 and Mission: Impossible but undoubtedly keeping the tonal consistency of a typical MCU melodrama.
This movie gives us the backstory to Black Widow’s presence in the Marvel Cinematic Universe, involving an origin-myth tale of family trauma, identity crisis and sibling rivalry with a pugnacious kid sister, Yelena, entertainingly played by Florence Pugh. Yelena can’t help mocking – but also maybe envying – Black Widow’s balletic fight stance which involves absurd posing and resembles the mane-tossing antics of a woman in a shampoo advert.
Black Widow, or Natasha, is now cut off from her Avenger family and this seems like the right time to acquaint us with her unhappy upbringing as part of a Russian sleeper cell, posing as a regular American family in Ohio in the far-off 1990s. (Cue: a doomy cover of Nirvana’s Smells Like Teen Spirit on the soundtrack.) The girls turn out to be orphans whose parents have perhaps been made away with; now their fake mom is Melinda (Rachel Weisz) and their fake dad is beefy and conceited Alexei, a rumbustious and scene-stealer of a comic turn from David Harbour, both possessed of utterly convincing American accents and fond of crooning along to American Pie to the car tape-deck as they sentimentally glimpse a baseball game.
Alexei is proud of being the first Soviet-sponsored super soldier, named “Red Guardian” with a knockoff superhero outfit, and rather tragically obsessed with someone he thinks of as his opposite number, Captain America, in what he quaintly describes as the “geopolitical stage of international conflict”. Now his masters have suppressed the truth about his superheroism and abandoned him in a mouldering prison where he passes the time challenging fellow cons to arm-wrestling contests.
The family’s life in the American heartland is to end in catastrophe and in the present they must come to a reckoning with the evil puppetmaster Dreykov (Ray Winstone) who has been training an emotional zomboid army of “widows” of which the two girls were originally a part. He controls their minds but also keeps a stash of glowing-red antidote phials, which could restore these young women’s independence, and these of course assume a MacGuffiny importance – so much so that we have to wonder at the wisdom in creating the phials in the first place. Incidentally, Dreykov seems to have a very particular political connection in that decade: there’s a picture of him with Bill Clinton, which seems a bit rough on that president; surely a villain as canny as Dreykov would have cultivated links with the Bush family as well?
Well, Natasha and Yelena must take on Dreykov, who has good reason to hate Natasha with particular passion – an aspect to Black Widow’s personality which is not in fact fleshed out as convincingly as it might be – but first they have to sort out their own differences, and there are impressive bone-crunching close-quarter martial-arts fight scenes between the pair of them.
Somehow, the most teasingly potent relationship revealed here is that electra complex, the bond between Black Widow and her preposterous old dad, who is very large, very given to fits of temper and likes smashing things. Does this, perhaps, give us a Freudian clue to Black Widow’s tendresse for Dr Bruce Banner, the alter ego of Hulk? This glimpse into her troubled psyche is worth the price of admission on its own.
For fans of Black Widow and everyone else, this episode is great fun and Harbour could well ascend to spinoff greatness of his own.
Black Widow is released in cinemas on 8 July in Australia and 9 July in the US and UK, and on 9 July on Disney+.
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