To David Lean...

I'm having computer troubles at the moment, which is just ghastly. I had so many articles to finish completing, but it is what it is. I'm too lazy now to finish the actual article I'd planned on doing for David Lean. It's difficult to avoid Lean's more overt characteristics of being a prelude to Anthony Minghella (whom I adore). I always feel just a bit bad for not loving Lean indiscriminately, though I do love him on occasion. Not that he needs absolution from me, the man has two Oscars. I'm still not certain about how I feel about The Bridge on the River Kwai (though I think it was the best of the nominated five - not having seen Sayanora), but the one for Lawrence of Arabia is more than deserved. It's a shame he won his Oscars for the films devoid of female emotion since I think he does so well when he takes a look at them (Summertime, A Passage to India even Brief Encounter or Doctor Zhivago)....but, we know about Oscar/Best Picture and Women.

               

His trump card will always be his attention to detail. His directors of photography almost always did brilliant work; just look at that beautiful shot from Doctor Zhivago below.

I didn't even know he worked as his own editor on A Passage to India. I still haven't seen either of his Dickens adaptations or a few others of his significant ones, but I love these three the best - and these three performances, each of them so very timeless. Yes, I'd have Oscar-ed them all.

Ultimately, I'd remember David by heading back to Summertime - it's unnaturally low-key for him, but I think it's remarkable (and he reportedly loved it most of his films). How would you celebrate his birthday?

Love During Wartime

ometimes, even I’m confused as to why I call some directors my favourites. Case in point – David Lean. Sometimes, I think I’m more besotted with the idea of David Lean that David Lean himself. Granted, I’ve never seen The Bridge on the River Kwai (which is loathsome, I know - stop judging me). Lawrence of Arabia is a technical marvel – but one which I do not love. A Passage to India is an excellent adaptation, but both it and its source leave me confused and Ryan’s Daughter is better left unremembered. It is only the oft forgotten Summertime (the Kate H. vehicle) and his other tale of lost love that I cite as necessities of my cinematic favourites. And yet, even though I would readily mention Doctor Zhivago as a favourite of mine I never feel particularly happy as I watch. Sure, it’s a tragedy – but perhaps it’s the fact that despite its length Doctor Zhivago is steadily on its way to a tragic ending that cannot be averted.

I love the foreshadowing in this shot, it looks as if Christie is looking at the couple...but she hasn't even met them yet

                       

On the DVD for Doctor Zhivago Omar Sharif (what a talented man) spoke of it being one of the last epics from MGM, and it sure is a good way to go out because it certainly is epic. The film is based on Boris Pasternak's novel of the same name about a tale of tragic love in Russia. The scope of the film is daunting and the pace is definitely not rushed. Yet, there is nothing in Doctor Zhivago I’d call extraneous. David Lean is such a personal director; every shot is filled with such intimacy – the man knew how to excel in technicalities. But Doctor Zhivago is not devoid of emotion. In fact, the story’s emotional appeal is probably its ace. True, the basic story is rather simple – a love triangle between Sharif, Julie Christie and Geraldine Chaplin. But it’s not typical in the least. It’s less concerned with the machinations of the triangle and more interested in the fate of the other characters. And it’s a strongpoint of the film. In addition to the excellent threesome, we have Tom Courtenay, Alec Guinness, Rod Steiger and Ralph Richardson. True, with the most screen time Sharif comes across as strongest (what a shame he was ignored by the Academy) but Lean wants everyone to have their time to shine – and with so much time on his hands, he manages to do so.

Most people probably know of Doctor Zhivago through its score, arguably the most popular film score – and really it is that good. It accents the film with a bittersweet tone that runs throughout, and it’s the same way with the actual film. If I really sit down and ponder on it, Doctor Zhivago is really quite depressing – two important deaths occur within the space of five minutes (one is not even on screen) and the thing we love called closure is never really forthcoming. In fact, after three hours of waiting I can understand why some would be less than pleased at the outcome of the "romance". But Lean is not as interested in giving us a “movie” as much as he wants to give us glimpses into the lives of people he treats with such honesty I wouldn’t deny them as authentic humans despite their obvious artificiality (they are literary characters, alone). I’m rarely moved to watch it in its entirety (though doing so last Friday was quite satisfying). But, like I remember it in spots, I think of lovely moments within the tragedy of Doctor Zhivago and I’m content. Like Julie Christie’s loveliness in a red dress, Omar Sharif’s son in a small role, an adlibbed slap from Rod Steiger, or a look of happiness as Sharif spots someone important while on a train. True – everything is leading up to that inevitable decisive tragedy – but I still think of Doctor Zhivago as a near perfect piece of art. It’s not any less worthy because it’s not pleasing on first glance. Below the surface there’s much to appreciate. It appears at #25 on my list of favourite films, for though it confuses me at the end of the day I know "...it is a gift..."

Listen to a sample of the score...

Scene On A Sunday: Funny Girl

I remarked a few months ago that I’m a fan of the 1968 musical Funny Girl. Sure the plot gets a little plodding at times, but Barbra Streisand is a delight in it. The thing is, Omar Sharif’s performance is often forgotten – understandably, I suppose, but still. A scene I often think of in Funny Girl is not one that people turn to immediately when they remember it, but in its way it’s a beautiful piece. Fanny is now getting close to Nick and she’s invited to his home. Fanny is still an impressionable young girl, and Nick is a man of the world. She doesn’t even realise that he plans on seducing her until he actually starts singing.

He begins -

You are woman! I am man. (the name of the song)

Streisand is a comedian at heart, even though her dramatic turns are good it’s the comedy she always plays with such alacrity. I just love the expression on her face her, it’s exaggerated (as much is throughout this scene) and it works because that’s who Fanny is.

We don’t usually see Sharif like this, but the role is tailor made for him, he just has to look good and make us believe that Streisand’s Fanny would be enticed by him. It’s no tough job for him, but that doesn’t make it any shoddier.

You are softer to the touch,

It’s a feeling I like feeling very much.

You can almost see Fanny breathing, as she gets tense under his touch. Fanny is such a inexperienced girl and Streisand’s plays it impeccably. For example, I love how she’s so on edge she downs the glass of champagne in one go.

It’s only adding to the comedy, and what’s more Sharif is still cool as cucumber, his Nick isn’t fazed a bit.

 ...Still our friendship...leaves something to be desired...

It does make us wonder how dangerous he could be, but Fanny’s obviously caught in his web.

As we watch her face (Streisand is so emotive) we can see her defences wearing down more and more. It leads to the first attempt at the kiss.

You are woman I am man.

Let’s kiss.

In her own way, Fanny’s trying to fend him off for the sake of chastity, we can presume. Lucky for her, the seduction is interrupted by the butler.

This leads to Fanny’s own monologue (which is played over while she thinks). It’s a nice moment, but not only for Streisand’s singing (truthfully, the song is lovely but it doesn’t show her range), but it’s still nice seeing her face as she has that emotional tug-of-war. And William Wyler, never one to shirk on cinematic idiosyncrasies gives us moments like this –

Should I do the things he tells me to?

In this pickle...what would Sadie do?

And this…

Just suppose he wants his dinner back...

It’s more than the just the slight humour in Fanny mimicking the statues though, the art direction and costume design are just lush her and what better way to show them off?

      

Of course the butler can only stay for so long, and eventually the lights are dimmed – we know what’s coming next…

It’s a moment that’s both romantic and funny, and it works both ways. Sharif is still being exceptionally seductive, but Fanny spends the time giggling as if he’s tickling her funny bone.

But she’s liking it…

And then of course, the kiss – lovely.

But of course, it doesn’t end there…

...If I stop him now, can he sue me?!

But she won’t stop him…the lights go down and the camera pans out…

…as they kiss.

         

Funny Girl is a delight...and so is this scene.