Wednesday, March 18, 2015

character counts: barbara nichols

Barbara Nichols (1929-1976) - Our all-time favorite brassy, sassy, big-mouthed '50s blonde, hands-down
 
One of the fleeting pleasures of watching '50s movies is the occasional date with Barbara Nichols, not so much one of the many blonde bombshells (and Marilyn-wannabes) who drifted, rather languidly, throughout the decade but a first-rate supporting performer and team player. Fox had its CinemaScope trademark blonde, Monroe, in its stable (keeping Sheree North and Jayne Manfield on hold for whenever MM acted up) and Columbia had Judy Holliday and Kim Novak playing different degrees of blonde and dumb. But on the fringe, working free-lance, were such names as Mamie Van Doren, Joi Lansing, Britain's Diana Dors and ...

Barbara Nichols.

Of the bunch, Nichols came across as the toughest and most likable. She was the Damon Runyon blonde - brassy, sassy and resplendent with her Brooklyn accent - among the more machine-tooled bottle blondes.

Her big year was 1957 when she played the poignant role of Rita in Alexander Mackendrick's "Sweet Smell of Success," the wise-cracking Gladys Bump in George Sidney's "Pal Joey" and Poopsie in Stanley Donen and George Abbott's "The Pajama Game." Other roles came - Philip Dunne's "Ten North Frederick" (1958) with Gary Cooper; Raoul Walsh's "The Naked and the Dead" (also '58) with Aldo Ray; Sidney Lumet's "That Kind of Woman" (1959) with Sophia Loren and Tab Hunter, and Sidney's "Who Was That Lady?" (1960), with Dean Martin, Tony Curtis, Janet Leigh and fellow bomshell Lansing (playing her sister, no less), along with bits with Robert Cummings (and Lansing again) on "The Bob Cummings Show"/"Love That Bob" sitcom.

Her scratchy, chalk-on-a-blackboard voice fueled these films and made most of them memorable, but sexpots, like dancers, usually don't age well. By the 1960s, Nichols was left with guest roles on TV series, although she had something of a personal triumph on Broadway in Ray Evans-Jay Livingston's "Let It Ride," starring George Gobel and Sam Levene - a 1961 musical version of Mervyn LeRoy's 1936 film, "Three Men on a Horse," in which Levene recreated his original role.

She died young - at age 46 - in 1976.
Nichols with Janet Leigh (center, natch) and Joi Lansing in Sidney's "Who Was That Lady?" (1960)

Tuesday, March 10, 2015

façade: Charlton Heston, farceur?


 
"On screen, Mr. Heston parted the Red Sea in 'The Ten Commandments,' drove the Moors from Spain in 'El Cid,' painted the Sistine Chapel ceiling in 'The Agony and the Ecstasy,' baptized Jesus in 'The Greatest Story Ever Told,' and gave him a drink of water in 'Ben-Hur.'

"And on the seventh day, Mr. Heston did not rest."


-Carrie Rickey

I can't top that. Frankly, I have nothing to add to what Carrie wrote.

Except for one observation.

In his long, 50-year Hollywood career, Heston made a lot of films, close to 100 (not counting his television appearances), but they were heavily dramatic and most of them period/costume pieces - Biblical epics, Westerns and such.


But to the best of my knowledge, Heston has only only two - count 'em - two comedies on his resumé: Jerry Hopper's "The Private War of Major Benson" (1955) and Melville Shavelson's "The Pigeon That Took Rome" (1962) and, in both, he played military men.

In "The Private War of Major Benson," he's a career soldier given a choice after mouthing off once too often to higher-ups: He will be drummed out of the Army, or he can keep his stripes if he takes command of - and shapes up - the ROTC program at a boys' academy. The Universal film, which was remade as Damon Wayan's "Major Payne" in 1995, would have been better suited to the talents of Glenn Ford.


"The Pigeon That Took Rome" cast Heston as another American soldier, this one behind Italian lines in World War II, who uses carrier pigeons fitted with messages to communicate the movements of the Germans - and who grows more and more in love with the daughter of the local family with which he's residing.

The ever-reliable Harry Guardino co-starred, handling most of the film's comedy, and Elsa Martinelli was Heston's love interest, whose father (Salvatore Baccaloni) fouls things up by cooking the pigeons for a family dinner.

The film is a little reminiscent of the military comedy that Jack Lemmon made with Richard Quine in 1957, "Operation Mad Ball," and in fact would have been a better fit with Lemmon.

That's not an original opinion. At the time of the release of "The Pigeon That Took Rome," Heston himself opined that it would have been better with Lemmon.

Thursday, March 05, 2015

cronenberg's brilliant mash-up...

credit: moveorama magazine

At the Screen Actors Guild (SAG) awards, where she won the Best Actress award for her performance in "Still Alice," Julianne Moore referenced some of the unorthodox films she's made in her acceptance/thank-you speech.

"I also wish to thank my professional partners  - the people who have supported every weird choice I’ve ever made,” she smiled.

The audience laughed, thinking she was joking.  After all, at first glance, Moore seems to have exhibited unstinting good taste in her choice of roles, films and directors. But that's not entirely true.  And she wasn't kidding.

Moore has made quite a few curious career decisions, appearing in titles that one would not readily associate with her but that, from where I sit, have made her a stronger, more interesting, more complete actress.

I'll detail some of these choices in a bit, but first, her latest curiosity commands too much attention to be kept waiting: David Cronenberg's brilliant (but difficult-to-recommend) "Maps to the Stars," a delirious mash-up of "What Ever Happened to Baby Jane?" and "All About Eve" in its delineation of show business in general and moviemaking in particular.

Coming on the heels of "Still Alice" (one of those inspirational art-house films lacquered in good taste but essentially "trivial," as The New Yorker's Richard Brody nailed it), "Maps to the Stars" diabolically creates a shot of culture shock and calls on Moore to give her bravest performance.

Cronenberg is in full enfant terrible mode here, with his game star doing a delicious variation on Bette Davis' Baby Jane Hudson as Havana Segrand, a desperate, washed-up film actress whose frustration with her moribund career has left her a bit more than unhinged and without any boundaries.

While Robert Aldrich's Jane Hudson, a forgotten film star (by way of the Orpheum circuit) built up a competitive resentment of her more successful sister, Blanche, Havana is obsessed with her iconic mother, Clarice Taggart (Sarah Gadon, in flashbacks) - and with starring in a sort of remake of one of the mother's beloved classics.

Both Jane and Havana have tired of living in the shadow of a more talented relative. In Havana's case, the "remake" is actually a movie about the making of her mother's hit - with Havana playing her mother.

 credit: focus world

"Maps to the Stars" veers into "All About Eve" territory when Havana decides she needs a "chore whore" and hires the weirdly innocent Agatha Weiss (Mia Wasikowska), who gets the job after "meeting" Carrie Fisher on Twitter.  Weiss' Eve Harrington ultimately unleashes Havana's vindictive Margo Channing personality, prompting bad behavior that Moore plays to the hilt. Moore is nothing less than complicit with Cronenberg's deranged vision here and plays one particularly memorable sequence atop a toilet where Havana is battling constipation (replete with the usual rude sounds) as she barks a list of needs (including a laxative) to Agatha.

The scene ends with Moore, fanning the air: "It smells in here!"
                                                                                                
As if this much toxicity isn't enough, Cronenberg ups the ante by introducing Agatha's estranged - and very strange - family.  There's her younger brother, Benjie (Evan Bird), the beastly 13-year-old star of the franchised “Bad Babysitter” sensation; their father, Dr. Stafford Weiss (John Cusack, extraordinarily creepy), a self-help healer/quack, and his sister-wife, Christina (Olivia Williams).  Yes, Stafford and Christina are indeed siblings.  This gruesome twosome, along with Havana's long-gone mother who sexually abused her as a child, symbolize the insidious incestuousness, in its many forms, that permeates the movie biz.

The representatives of show business that loiter in "Maps to the Stars" are decidedly not as lovable as the flawed denizens of Alejandro González Iñárritu's "Birdman" - and it's become rather apparent that neither movie people nor movie critics are ready to accept Cronenberg's film, which was designed to provoke discomfort, as easily as they embraced Iñárritu's. 

Much like Paul Thomas Anderson's willfully quirky "Inherent Vice" of last year, "Maps to the Stars" is not for the middlebrow, meaning the majority of moviegoers and movie critics among us.  But who cares about the majority?  These are two of the most exciting and vital movies in ages.
credit: nicole rivelli/cinedigm © 2013

Now, back to the singular Julianne Moore and those "weird" choices she referenced at the SAG awards. Starting with the most recent, they are...
  • "Seventh Son" - Nonsense about a line of seven sons whose fate is to protect their hamlet from evil spirits.  It reunited Moore with her "Big Lebowski" co-star, Jeff Bridges
  • "The Hungar Games: Mockingjay (Part One) -  In which Moore plays the President.  Part two is imminent.
  • "Non-Stop" - One of Liam Neeson's old-guy avenger flicks.
  • "Carrie" - Kimberly Pierce's bizarrely bad remake of the Brian DePalma classic.  With Moore and Chloë Grace Moretz in the leads, it seemed perfect - on paper.
  • "The English Teacher" - A fine, if minor, little film about Moore's educator in an uneasy relationship with a former student, a failed playwright. The ace supporting cast includes reliable Greg Kinnear (above with Moore), Nathan Lane, Jessica Hecht, John Hodgman and Norbert Leo Butz.
  • "6 Souls" - Moore as a psychologist tending to a patient with multiple personalities, some of whom have been murder victims. Directed by Mårlind & Stein.
  • "Next"- A Nicolas Cage vehicle with the star as a Las Vegas magician-physic who teams with the FBI to prevent a terrorist attack.
  • "Freedomland" - An actioner that teams Moore with Samuel L. Jackson.
  • "Hannibal" - A "class" horror film, given its pedigree (star Anthony Hopkins, director Ridley Scott, writers David Mamet and Steve Zallian), that made barely a blip.
  • "Assassins" - In which director Richard Donner wedged Moore between Sylvester Stallone and Antonio Banderas.
  • "Nine Months" - A John Hughes remake (directed by Chris Colombus) of a French comedy which pairs Moore with Hugh Grant.
  • "Roommates" - With an aged Peter Falk as an irascible old coot.
  • "The Ladies Man." A Tim Meadows comedy.
  • "Body of Evidence" - The Madonna film.
Weird choices?  Perhaps.  But no one can accuse Julianne Moore of being an elitist. And then there are those estimable titles which, for whatever reason, don't bring Julianne Moore to mind -"Don Jon,"  "The Fugitive," "The Lost World: Jurassic Park," "The Private Lives of Pippa Lee," "I'm Not There," "Laws of Attraction," "Surviving Picasso" and "An Ideal Husband."

The films that we do associate with Moore - and there are dozens - far outweigh those that the star herself describes as "weird."

Weird?  No, the word to use is "adventurous." 

Sunday, March 01, 2015

cherbourg vs. les miz

When Tom Hooper’s film of the cult pop opera, ”Les Misérables,”opened in 2012, much was made of the fact that all the singing was done "live," no pre-recording or subsequent lip-syncing by his game cast.

But Hooper really had no other option.  Except for a few lines of dialogue here and there, the film was near-literally all-singing.  His movie - or rather its players - could not withstand 158 minutes of lip-syncing.

Hooper's decision to have his cast sing everything "live" was praised not only as gutsy, but also as a first.  Not true.  Film musicals in the 1930s routinely had "live" singing, and as late as 1975, Peter Bogdanovich had his ”At Long Last Love” cast do the same thing for the film's entirety.

Doris Day sang all her songs live in 1957's "The Pajama Game" and, in 1962, Mervyn LeRoy shot two back-to-back ”Gypsy” numbers "live" - Rosalind Russell's "Mr. Goldstone, I Love You" (one of the few songs in the film in which Russell did her own singing) and Natalie Wood's "Little Lamb" (a song that was later recorded for the film's soundtrack album).

As impressive as this is, more awesome is what director Jacques Demy achieved in 1964 with "The Umbrellas of Cherbourg" ("Les parapluies de Cherbourg"). Like "Les Miz," Demy's film is all-singing.  But none of it was done "live."  The songs were all pre-recorded, which meant that Catherine Deneuve, Nino Castelnuovo and company had to lip-sync every scene. I can't imagine the process being anything less than arch and cumbersome.

Of course, Demy's film isn't bloated.  It runs a trim 91 minutes. Perhaps also at 91 minutes, "Les Miz" would have been pre-recorded, too.

Demy passed in 1990 and I've no idea if his approach to filming "Cherbourg" has ever been documented in an interview.  Perhaps this information is buried in some old edition of Cahiers du cinema. 

It's something I'd like to read.

"Cherbourg."  "Les Miz."   Both are all-singing features (with scattered dialogue) and classic movies. But which one was more difficult to film?

Any opinions?

Friday, February 27, 2015

character counts: roland young

character counts - This is a new recurring feature devoted to those familiar faces - Hollywood's invaluable character actors, addressing them by their names.  Which too few of us know, even dedicated cinéphiles. 

First up, the endearing Roland Young, who played patrician gents (often inebriated) in screwball comedies and is best known as Mr. Topper from ... "Topper," Norman Z. McLeod's 1937 hit (and its assorted sequels). 

Cosmo Topper.

Young had a beguiling smile (and smiling eyes) and, when he talked, he barely opened his mouth, so that much of what he said usually came out as a relaxed, kinda spacey mumble, as if he was conversing with himself. 

Jerry Seinfeld would defintely tag him a low talker.

Given that and his diminutive demeanor, the teeny-tiny autograph just above Young's right shoulder in the photo below is most appropriate.

My favorite Young performance?  As George, the Earl of Burnstead (yes!), in Leo McCarey's ever-wonderful "Ruggles of Red Gap" (1935).

A hyper-elegant actor, a super-sophisticate.  If he were alive today, he'd be the face of Tom Ford.

Tuesday, February 24, 2015

the post mortem

Photo Credit: mptvimage.com

To paraphrase a popular line from innumerable movies, watching the Oscars is like banging your head repeatedly against a brick wall.

It feels so good when it's over.

Not surprisingly, the rating for The Oscarcast was down this year.  First, it was reported that the numbers were down by 10 percent from last year.  Then, the figure went to 14.9 percent, before ballooning to the current number, 16 percent (in some quarters, 17 percent).  Oy.

In an excellent analysis today in The New York Times, titled "Oscars Show Growing Gap Between Moviegoers and Academy," the decline is dissected and defined in thorough fashion by Brooks Barnes and Michael Cieply.

The low rating is no surprise because of the films and performances in question.  It has become apparent that there's a correlation between the movies involved in the competition and the level of enthusiasm that the viewers, average moviegoers, have for those films.  This year, the buzz surrounded such titles as "Boyhood," "Whiplash" and the 2015 winner, "Birdman," films with which movie critics and die-hard cinéphiles may obsessed, but not the moviegoing public.

In point of comparison, the public was obsessed with the 1998 Oscar winner - the big-studio "Titanic." That year, the Oscarcast drew an average of 57.25 million people over its length, which was a 29% increase from the previous year when the indie, "The English Patient," dominated the show.

In recent years, as more independent filmmakers have become members of the academy, the five slots for Best Picture have become dominated by independent films.  This apparently became cause for concern because the Academy expanded the field to as many as 10 titles, so that more popular titles had a chance to vie for the top award.  But this year, there was only one popular film among the eight nominees - "American Sniper."

Not even "Interstellar," which is not only a big and popular film but an extremely thoughtful one, managed to make the grade.

The show itself, meanwhile, was so unmemorable this year that most of the dialogue has revolved around the annually problematic In Memoriam sequence.  Someone is always left out.  For some reason, everyone seems up in arms this year about the exclusion of Joan Rivers, whose handful of films included a witty cameo in Burt Lancaster's "The Swimmer" and the comedy "Rabbit Test," which she directed.  Her other titles are negligible. Elaine Stritch, also slighted, had a similarly lightweight résumé.

There have been no complaints, however, that a real movie star - Lizabeth Scott - was conspicuously missing from this year's In Memoriam. Scott was a major fixture in several film noir classics, arguably the definitive femme fatale.  Granted, she passed in 2015 - on January 31 - but Rod Taylor, Anita Ekberg and Louis Jourdan, all of whom died after her, were included. In the scheme of things, who cares about Joan Rivers? She was a peripheral player at best.

And while we're at it, the fine director Joseph Sargent ("The Taking of Pelham One Two Three," "MacArthur") was also overlooked.

Bad form. Very bad form.

Postcript:  Two readers, Beth and Charlotte, alerted me to the fact that the Academy has a complete In Memoriam photo gallery on its site.  Everyone is there - 129 names in all, alphabetized.  Joan Rivers is there.  Elaine Stritch is there. Lizabeth Scott is there.  Joe Sargent is there. So why didn't the Academy simply refer the media to its site when all the fuzz started?  An Academy spokesperson has been apologizing for the Rivers omission, saying "You can't include everyone."  Which is true. Listing 129 names would have added yet another half hour to an already unwieldy show.  But directing the curious to the Academy's site could have avoided an unnecessary misunderstanding.  Flawed communication here.  Anyway, click here for the Academy's photo/memoriam link.

Monday, February 23, 2015

cinema obscura: tom kalin's "savage grace"

It's official.

The acting royalty of the moment is the duo of Julianne Moore and Eddie Redmayne, the current guardians of the Best Actress and Best Actor trophies - until two other privileged thespians are announced at the next Oscarcast. In 2016. Of course, they retain their gleaming gold statuettes in perpetuity. They don't have to relinquish them at the next Awards Season.

But Moore and Redmayne, both hugely talented and highly deserving of their Oscars, have a fascinating history - one that predates their award-winning acting in "Still Alice" and "The Theory of Everything," respectively.

They created something of a scandal back in 2007 when they appeared as a rather unorthodox mother and son in Tom Kalin's deliciously wicked "do-you believe-the rich-actually-behave-this-way?" opus, "Savage Grace." Never heard of it?

That's because, inexplicably, despite its pedigree, it came and went under the radar.  It would make sense if some enterprising young executive at IFC Films, which released "Savage Grace," suggested an art-house re-release. This effort by two Oscar winners deserves to be seen.

The film covers the rather unhealthy exploits of the fabulously wealthy Baekeland family - father Brooks (Stephen Dillane), who was the heir to the Baekeland plastics fortune (Brooks's grandfather invented Bakelite);  his ambitious, society-obsesssed wife Barbara (Moore), and their son Tony (Redmayne) - and traverses the years immediately following World War II up until the 1960s, flitting from New York to Paris to London.

The relationship between Brooks and Barbara is toxic, to say the least, and with that dynamic serving as something of a model, it's no surprise that the individual and shared behavior of mother and son, Barbara and Tony, is wildly dysfunctional. We're talking decadence here, as father, mother and son sleep around and with each other's paramours and with each other.  Yes, there's incest and, for good measure, murder.

Don't be put off by the expected sordidness because, with people this wealthy, entitled and privileged, "Savage Grace" is handsomely appointed and glamorous to the hilt. It's fun to slum with the filthy rich.
Photo Credits: IFC Films

Sunday, February 22, 2015

unfashionable

This will probably be a rant.  It's about the Oscars, after all.  But I'll try to exercise a little self-control.  Here goes...

I thought I had come up with only one reason to watch the Oscarcast tonight.  But then I realized that there are actually two - and one of them is the pleasure in watching the indefatigable host Neil Patrick Harris in action. Unless the usual excess overwhelms and numbs Harris - which would be uncharacteristic for this enterprising performer - he should shepherd his audience safely through hours of rampant narcissism, shameless self-promotion, bad jokes, arch presentations, faux humility, thinly-veiled bragging and desperate stabs at social consciousness.

The other reason?

Well, that would be to see who wins the Best Actor trophy.  There is absolutely no suspense among the other major acting nominees.

Julianne Moore, J.K. Simmons and Patricia Arquette will undoubtedly continue their on-going winning streaks in the Best Actress, Supporting Actor and Supporting Actress categories, respectively. Yawn.

As for Best Picture, its history alone should help Richard Linklater's "Boyhood" nail that top slot. Or perhaps that critics' darling, Alejandro González Iñárritu's "Birdman," will nab the big brass ring, leaving the average televiewer/moviegoer thinking, "Huh? What just happened?" 

Linklater may or may not win as Best Director, but frankly, I don't care. It seems that his achievement with this particular film had more to do with painstaking coordination than with the usual standards for direction.

That leaves Best Actor - Carell, Cooper, Cumberbatch, Keaton and Redmayne.  For months, pundits had been confidently pontificating that "It's Michael Keaton's year" - that is, until Eddie Redmayne started picking up trophies at lesser awards shows.  Then it was all over for Keaton and it became "Redmayne's year" - that is, until "American Sniper" opened Big and, forthwith, salesman Bradley Cooper was gamely all over the place.

On second thought, do I really care who wins Best Actor?  In all honesty, no.  Which brings me back to only one reason to watch Hollywood's 87th Giveaway Show. Even the most star-struck film journalist knows that the Oscar has relatively little to do with achievement (although most pretend otherwise) and that it's all about popularity in its various, mutated forms.

A person gets nominated - and wins - because (1) he/she is likeable and/or venerable, or because (2) a big studio money machine is behind that person, making sure to keep that person in your face for four months straight, or because (3) the film in which he/she is involved has been critically endorsed and is, therefore, obviously a winner - and so anyone who is even remotely associated with that film must also be a winner.

That said, here are a few unpopular, contrarian complaints, pontifications, observations and questions about this year's Oscars in particular - and the so-called "awards season" (in all its trumped-up, shameless glory) in general. Given that I no longer answer to an editor and therefore not obliged to feign interest in the event, my thoughts will be unexpurgated.

"Birdman (or The Unexpected Virtue of Ignorance)."  I've rarely been in sync with other critics but the fawning enthusiasm for Iñárritu's film really makes me feel like an outlier.  The plot about a washed-up movie actor attempting a comeback in a self-written Broadway play might have been engrossing if either the actor or his play was interesting - or if the film about them wasn't so glibly self-satisfied. Exacerbating matters is a collection of thoroughly unpleasant characters and a clanging drum score (credited to Antonio Sanchez) that's so jarring that now, whenever I see, hear, write or say the title "Birdman," I associate it with severe head pain.

"The Grand Budapest Hotel."  Wes Anderson’s fussy, all-male fantasia was also confounding. Frankly, the silly storyline about a fey concierge who claims to have had sex with the titular hotel's decrepit female patrons and is rewarded by one of them with a priceless painting (leading to a desperately unfunny chase) is made bearable only by Adam Stockhausen's remarkable production design and the three different aspect ratios employed by cinematographer Robert D. Yeoman. But the brand of "charm" that permeates this film is like sweet, sticky caramel. Sorry, but Anderson's precious frat-house film is way too twee for me.

"Selma."  Going in, there were two bright Oscar promises among the attention-seeking candidates - this Ava DuVernay biopic centering on Martin Luther King's voting-rights march in 1965 and Angelina Jolie's "Unbreakable," based on Lauren Hillenbrand's huge best-seller about World War II hero Louis Zamperini.  Remarkably, Jolie's film, which earned good reviews, went absolutely nowhere in terms of awards.  Nothing.  Nada. DuVernay's movie, meanwhile, was the center of two controversies, one of which may have led to the other.  After DuVernay was the subject of unflattering opinion pieces and editorials for negating LBJ's role in the design and passing of the landmark Voting Rights Act of 1965, her film managed to snag only two Oscar nominations - for Best Picture and Best Song. Overlooked were DuVernay herself for direction and her star David Oyelowo.  Hollywood racism was targeted by the supporters of "Selma."  There was no mention, however, that perhaps the Oscar snub was self-created, the result of an agenda that turned off many voters.  But, hey, a Best Picture nod ain't exactly chicken feed

"Whiplash."  Hands-down, the most ludicrous film of the year - one which positions percussion as a blood sport  - and it's weighed down by the most ludicrous character of the year, a maniacal jazz instructor straight out of "Full Metal Jacket."  Honest.  I couldn't make this stuff up.  I love that J.K. Simmons, who plays the role (and will win the Oscar), is finally receiving peer recognition but it's for a performance that simply makes no sense.

"Wild."  Just the thought of Laura Dern makes me smile.  Terrific actress.  She has nailed every role that she's played.  Never a misstep.  She's been around since the '80s and has had some really revelatory roles  ("Wild at Heart," Rambling Rose," "We Don't Live Here Anymore," "Everything Must Go" and especially HBO's "Enlightened") but her part in "Wild" isn't one of them. Again, I'm happy she's nominated but keep asking myself, "Why?"

"Foxcatcher."  When an actress, who is charming and attractive, deglamorizes herself for a serious role, the critics - mostly male - call her on it.  She'll be accused of nakedly angling for a top acting award (or, at least, some critical praise) or of being ambitious and self-promoting.  Most male critics would deny that they are sexists, but when they write stuff like this, they are - the cads.  And the fact is, one could make the same exact generalizations about anyone who sets themselves up as Oscar bait, even men.  But no one commented on Steve Carell's transparent Oscar bid as multimillionaire wrestling nut John E. du Pont in Bennett Miller's film, where he dons a huge prosthetic nose and cosmetically changes his hairline and skin tone.  Sure, Carell is convincing but who wouldn't be with that kind of help?  Carell has turned into an extraordinary film actor with a really eclectic filmography. And, from where I sit, he has been much more convincing is roles that required less showcasing ("Little Miss Sunshine," "The Way Way Back," "Crazy. Stupid. Love.," "Dan in Real Life," "Seeking a Friend for the End of the World") and those not considered Oscar-worthy ("Dinner for Schmucks," "The Incredible Burt Wonderstone" and particularly "The 40-Year-Old Virgin").   He's another actor who I like - a lot - but, frankly, his turn in "Foxcatcher" has been overrated.

"Still Alice." The film itself received bad reviews, deservedly so.  It's a strange hypbrid - part Lifetime movie and part predictable Sundance/indie fare. It's a toxic combination that almost steamrolled its two great performances - from Julianne Moore and Kristen Stewart. This is another "problem movie" in which the problem (in this case, Alzheimer's disease) revolves around well-heeled, entitled people. Which has become typical in indies.  Moore, of course, plays a privileged, educated woman with a cool career. She lives in a handsome Manhattan brownstone and has a beach house.  When she takes winter walks on a beach, the beach in question is an indie beach - somehow, free of other people.  (It's accompanied, of course, by one of those spare, tinkly piano scores.) She has the beach to herself so that she can contemplate the dementia that is taking over her cultured life.  When she visits a "home" that caters to Alzheimer's patients, they are all old and poor, unlike Moore's character, but the film would be more interesting - and more honest - if it was about those poor souls.

Academy Snobbery.  If the Academy is indeed steeped in racism, it doesn't surprise me.  It's been guilty of every other -ism that exists. It also becomes all hoity toity at awards time.  So, let's get back to Kristen Stewart.  Why wasn't she nominated for her performance in "Still Alice"?  She's spectacular in it, its steely center.  But, of course, the status-conscious Academy would never consider someone, however talented they are, who has become tabolid fodder and who stooped to appear in the "Twilight" franchise.  The same goes for Channing Tatum, who is the heart and soul of "Foxcatcher" and whose performance is much more impressive than either Carell's or the mannered one by mumbling Mark Ruffalo (inexplicably another nominee this year).  But, of course, the Academy would never entertain the idea of honoring Magic Mike.  The horror. Hollywood behaves as if performers like Stewart and Tatum are good enough to make money for the industry, but reward them when they excel in their roles as actors?  Never.  (And while we're at it, a long-overdue shout-out for "Nightcrawler's" Rene Russo, also slighted this year.)

OK, end of rant.

Wait!  One more thing. The year's best actor, despite who wins tonight, is actually Jake Gyllenhall (also overlooked, natch), so mesmerizing in "Nightcrawler."  To expand on that, it might be a bit anti-climatic but these are the performers most deserving of accolades/awards in 2015.

In my opinion. 
  • Jake Gyllenhall / "Nightcrawler" - Best Actor
  • Jennifer Aniston / "Cake" - Best Actress
  • Channing Tatum / "Foxcatcher" - Best Supporting Actor
  • Kristen Stewart / "Still Alice"- Best Supporting Actress   
Note in Passing: Not enough has been written about Jennifer Aniston's remarkable performance in "Cake," a fine film whose aborted box-office life seemed to be the result of a bizarre release pattern.  As a woman addicted to pain medications prescribed after an unseen accident, Aniston brought an astonishing generosity of spirit - and unexpected lightness - to a work that could have been an unrelenting downer.  There is a subtle form of humor in the film, thanks to Aniston's razon-sharp line readings and eccentric demeanor. She creates nervous laughter, but it's real. 

Monday, February 16, 2015

au revoir, m. jourdan

The dashing Louis Jourdan, who passed on Saturday - February 14 -  at the amazing age of 93, was something of an anomaly.

First case in point:  He was a classically handsome movie star who was married to the same woman for 68 years - until his beloved Berthe's death in 2014 - and there were no scandals during those nearly seven decades.

No extramarital affairs. No dalliances. No easy movie-set flirtations.

Another observation: Due to his proficiency with the English language, which he spoke fluently early on, Jourdan is a Frenchman better known for his American films (the first of which was Alfred Hitchcock's "The Paradine Case" in 1947) than for his Gallic movie career (which started in 1939 with Marc Allégret's "Le corsaire").  In fact, he had barely a hint of an accent.

More: Despite his good looks, Jourdan was rarely the dreamy leading man in his films.  Quite the contrary, he could be refreshingly petulant and irritable (as he was in Vincente Minnelli's "Gigi"), an uptight prig (Walter Lang's "Can-Can"), a heel (Jean Negulesco's "The Best of Everything," above with Suzy Parker), a psycho husband (Andrew Stone's "Julie"), a callous rake (Max Ophuls’s "Letter from an Unknown Woman") and an outright villian (John Glen's "Octopussy" and Wes Craven's "Swamp Thing" and its sequel). And he sang - unexpectedly - as he did, rather well, in both "Gigi" and "Can-Can."

But his matinee-idol status was cemented by what was indeed a dreamy-leading-man role in  Jean Negulesco's "Three Coins in a Fountain" in 1954.

Louis Jourdan was born Louis Robert Gendre in Marseille, France on June 19, 1921.  For his career, he took his mother's maiden name.  He acted in a whopping 86 movies and TV shows (again, predominantly American) and served as a soothing, unseen raconteur for an 87th - speaking the witty expository narration of Billy Wilder's "Irma La Douce" (1963):

"This, then, is the story of Irma La Douce...
A story of passion, bloodshed, desire and death...
Everything, in fact, that makes life worth living." 

One fascinating fact about Jourdan's career that has been overlooked by the various obituaries and appreciations:  He was the original male lead, opposite Barbara Harris, in the 1965 Alan Jay Lerner-Barton Lane musical, "On a Clear Day You Can See Forever," playing the psychologist, Dr. Mark Bruckner, to Harris' Daisy Gambel.


He played the role during its Boston tryout at the Colonial Theatre but was replaced by John Cullum before the show reached Broadway.  His character was originally written as a Frenchman but the nationality was changed to accomodate Cullum.  However, when Vincente Minnelli filmed the musical in 1970 with Barbra Streisand (in the Harris role), the doctor was again a Frenchman - this time played by Yves Montand.

But Minnelli changed the character's name to ... Marc Chabot.

French, you know.

Note in Passing: Oddly enough, Minnelli had directed Jourdan in both "Madame Bovary" and "Gigi."  Given that, it's a bit curious that he didn't give Jourdan at second chance at "On a Clear Day You Can See Forever."

Friday, February 13, 2015

the biggest company picnic ever

Recently, while channel-surfing, I came upon a telecast featuring several self-appointed Oscar analysts.  These days, you can't get away from them.

During what was a rather urgent conversation/debate, one of the participants lamented how the Oscars have become "politicized."

Really?

Even in its earliest incarnation, dating back to 1928, the Oscar was not about achievement.  Far from it. In fact, there are two reasons why Hollywood invented the Oscar and both were decidedly non-artistic.

One was all about, for lack of a better word, "appearances" - the desperate need to appear respectable. And the second reason involved the one element that has always driven the movie industry - power.

The industry had a rather sullied reputation back in the 1920s, seemingly promoting sex and violence and threatening to corrupt children and destroy the family unit and, by extension, the country.  There was a serious threat of government censorship that could stymie the industry.

So what better damage control than to champion all the wonderful, uplifting and artistic accomplishments of movies? By giving awards to itself, the industry somehow would acquire "class."  True, that doesn't make any sense at all but, if you think about it, the ploy worked.

The second, more pressing reason for the creation of the Oscars had to do with union-busting, which had become difficult on a studio-by-studio basis.  But, as the saying goes, United We Stand.  By banding together as the Academy of Motion Picture Arts and Sciences, the studios became one powerful monolithic structure and the awards themselves personified this.

The Oscar became a symbol.  And the less-than-subtle implication was that, if someone was a member of a union, that person would be ineligible to vie for an award. The Academy originally consisted almost solely of studio executives who selected the nominees and winners, rewarding those who played along. It was not uncommon for the wives, mistresses and girlfriends of the executives to win the top acting awards. 

One of the unexpected bonuses of all this was increased box office - money.  Big Money. An Oscar-winning film or performance proved Hollywood had "class" and, in turn, impressed the paying public.  All of this has contributed to the movie industry's preening, overbearing self-regard.

It was a win-win situation for the movie industry which has ran with its shrewd idea for 87 years now, making the Oscars bigger (if not necessarily better) with each decade. And certainly more political.

Of course, all of this has been forgotten (or conveniently eradicated) by both Hollywood and those in thrall of it. A bit of history has vanished.

Note in Passing:  Curiously, the various movie unions never went away - and actors, long under the thumbs of the studios, eventually unionized themselves, forming The Screen Actors Guild (SAG).  The studios may have lost their union-busting fight but they won the respectability - and the respect - that they so desperately coveted.  Thanks to the Oscars.