Flashback: The Prince of Tides

With the news of Barbra Streisand’s potential return to acting and directing now is as good a time as any to dip back into her history as a director and I don’t think there’s any place better to do that than with her 1992 Best Picture nominee The Prince of Tides. Adapted from Pat Conroy’s novel – which I have not read – the film takes a look at Tom Wingo, a typical Southern man with a typically troubled Southern past. If forced to put it into a box, the genre of family drama would be most apt for the tale though such a hackneyed title would belie the earnestness with which the film plays out. As a book to film adaptation The Prince of Tides is notable for inciting criticism from fans of the novels who were not enthusiastic about the shifting of the main plot from younger Tom to older Tom – because, god forbid a novel take licenses with adaptation.

Barbra's Yentl is an auspicious musical of the eighties and her The Mirror Has Two Faces is amusing in its over-the-top ridiculousness but it’s this straight drama of Tides that really encapsulates her talents for direction. If you watch closely the three films on a loop you’d noticed her sensitivity to emotion but not histrionics. I smile at the almost dour browness of the mise en scène. Despite the lack of obvious beauty in the colour brown, there’s something soothing about how it blends it with everything and it’s the same with The Prince of Tides. It can never be accused of being especially inventive, but there’s a soothing nature about Streisand and company take the usual machinations of familial drama and makes it interesting to watch. At first glance it seems like something akin to nepotism having her as the lead (the role sort of screams out Sigourney Weaver) but Streisand is a strong actress and she shines especially bright in the latter half of the film.

If there’s one thing I’d praise Streisand for effusively in The Prince of Tides, although I’m not sure how much she’s responsible for it, it’s the uniform goodness of the performances. Nolte’s Oscar nominated performance is a treat, but it’s watching the supporting women on the side that’s the real prize. Kate Nelligan turns in a brilliant turn as Nolte’s mother, and Melinda Dillon’s fragility is acutely played but it’s Blythe Danner as the potentially estranged wife who I never forget. Her performance is so subtle, but lovely to watch and always makes me a bit sad that Danner never “made it” as a film actress. Watching Streisand elicit these type of performances without ever being insincere makes The Prince of Tides one more than worthy of estimation, and it’s a real shame she failed to garner an Oscar nod for Best Director – even if the film earned a picture nod. There’s no telling what, if anything, will become of Gypsy, but I have faith in Streisand – as a musician, as an actress, and as a director.

                             

What did you think of Barbra's work in The Prince of Tides?

The Ultimate Road Trip

Ridley Scott is a director that doesn’t get enough credit. Sure, he did Gladiator which was the more or less a return to form the epic but he’s no one trick pony. I, for one, am anticipating his interpretation of Robin Hood next summer. In 1992 Scott earned an Oscar nomination for a film that people often forgot he helmed. Thelma & Louise looks like a chick flick, perhaps it is a chick flick. But it is also a thoroughly enjoyable film that features two exceptional lead performances. It’s the story of two friends – Thelma & Louise – one a meek housewife, the other a brash waitress who head out for a bit of fun on a road trip, which goes horribly awry.

I cannot think of Thelma & Louise without affection and even though it’s not exactly a comedy there is that subtle feeling of joie de vivre one unearths from it. Much of that comes from the two lead performances – Susan Sarandon and Geena Davis. I have nothing against Jodie Foster, but I’d not have voted for her on either of her Oscar wins. I often wonder if Susan Sarandon failed to gain an Oscar because of vote-splitting with Geena Davis. The two women are outstanding in their roles and they do some fine bits of acting off each other. The womanly affection they have between themselves is beautiful to see and its an enduring example of cinematic friendship. A young Brad Pitt makes a showing as an intrepid and possibly dangerous drifter and his unlikely chemistry with Geena Davis is lovely to watch.

                              

When we remember Thelma & Louise we often remember than iconic final jump, and that only goes to show how Ridley Scott put his indelible stamp on this film. But above all else Thelma & Louise’s success lies in its story. Callie Khouri is skilled and manages to make all the outlandish occurrences believable and never insincere. It’s a good piece of writing, and I can turn a blind eye to the horrific Mad Money.

                    

Thelma & Louise is a tour de force for Scott. It’s edited wonderfully, features good performances and boasts a top notch script. It’s fun and sometimes even funny and above all else it’s a good piece of film. Not bad for something that people are prone to refer to as a chick flick. It’s #78 on my list of favourites.

Robin Williams, Jeff Bridges and The Holy Grail

The nineties had their share of comedies – from the usual stuff to the more sophisticated. Much of it was lost in the drivel, some deservedly so. However, one of my favourite comedies from the nineties is an oft forgotten piece, one of my favourites from 1991 and a film featuring the best work Robin Williams and possibly Jeff Bridges have done – as far as I’m concerned anyway – the title in question is The Fisher King. The Fisher King, is the story of a cynical former radio host  Jack[Bridges] who befriends a homeless man  - Parry -[Williams]. It turns out that an indiscretion by Jack has led to the unravelling of Paddy’s life. So at the urging of his girlfriend Anne [Mercedes Rhuel] he makes a move to help Parry find what he feels he needs – the Holy Grail.

                                    

The Fisher King is a comedy that veers dangerously close into the supernatural, but for all its humour it’s also vividly poignant. Robin Williams is known most for his comedic work, though he has excelled in the occasional drama. In The Fisher King he toes the line between both genres. Parry is a funny man, but he is also a broken man and Williams is able to show us the pain and hurt while still making us laugh. Jeff Bridges must play the straight man to Williams and he’s excellent as the cynical Jack I actually can’t say that either is better than the other. However, the highlight of the film comes with Mercedes Ruehl who earned an unlikely Oscar playing Bridges’ girlfriend. Like Whoopi Goldberg immediately before her and Marisa Tomei immediately after she is a huge source of comedy. Like Williams too she also needs to get dramatic and does it well. That is why her performance is a favourite of mine.

The Fisher King has unfortunately become forgotten. I don’t think that Terry Gilliam will ever be able to supersede the comedic yet emotional core of this. This is sort of the film that people see and it makes them feel happy without insulting their intelligence, the script is vibrant, the acting is excellent and it is a completely satisfying film. It’s an underrated gem of the nineties and at #66 on my list of favourites.