Encore’s Birthday Marathon: Day 12

I don’t think I’m the first person to make mention of this, but I do find it ironic and not just a little humorous that the era of Hollywood most notorious for its debauchery and other hijinks was the time when they were most likely to spew out all their religious cant. I used to live, for about three years, with this overly religious aunt of mine and she was a big fan of religious fare and whatnot. I swear I’ve seen every incarnation of the Jesus’ life – from Jesus Christ Superstar to some awful animated shtick which I wouldn’t mind getting lobotomised to forget.

So, naturally, it’s no surprise that my favourite religious stars one of the least holy of Hollywood’s stars and also happens to eschew the strictest of religious principles. I’ve spoken about The Robe before, and it was on last month when they were counting down to Easter. I don’t know if it’s my perspective, because there really is little that’s palpably irreverent about The Robe (well except for Burton’s deliciously over-the-top performance, I have no excuse for loving it yet I do) but I still think of the film as an impertinent religious pseudo-masterpiece. It’s probably because the last scene takes place in the palace of the very histrionic Caligula and the only who tops Burton in the histrionic department in The Robe is Jay Robinsonb who’s so ridiculous he seems to have walked off the set of some comedy show and thrust into 1 AD.

Next to The Robe I’d probably cite The Ten Commandments as a worthy religious adventure. Once again, though, it’s the more visceral side of the film that makes me a fan: enter Anne Baxter. In my defense, it’s evidence of good screenwriting that the generally known story of Moses can be turned into a pseudo-love triangle (quadrilateral?) I’m not a big fan of Charlton Heston as it is, but add him to Anne Baxter and then toss in Yul Brynner and Yvonne De Carlo (who is not often remembered but is lovely here) for kicks and it’s a party. I’m a bigger fan of The Robe but I’d never the technical brilliance of The Ten Commandments. I always wish DeMille’s film had made a bigger showing at the Oscars that year. (They lost to Around the World in 80 Days for god’s sakes.) But, that's awards for you.

          

The Robe or The Ten Commandments? Or no religion?

Today Should Have Been Brilliant...

...but it's been kind of awful. Still, it's Richard Burton’s birthday today and he’s only one of the most brilliant actors to grace the silver screen – womanising and alcoholism aside. I wouldn’t bother to do a retrospective on him, though in all his brilliance he does deserve one. Today’s been kind of awful, but George will not be kept back.

In other news, Alan Menken got a Star on the Hollywood Walk of Fame today. I’m not the biggest fan of Menken’s work, but who can deny the brilliance of this?

Not I.
          
Happy Wednesday night.
              
(PS. I want to make babies with Sherie Rene Scott. No kidding.)

“Pour Me A Drink, Sugar”

Drunkards – we hate them in real life, but we love them on the screen. One of the many riddles that I cannot answer for you. It’s strange, whether the drunk is a bit of comedic relief, an affable protagonist or a dastardly villain it’s always nice seeing an actor ham it up for our entertainment on the big screen. Making this list was actually difficult, there were a number of notable drunks to sift through (I considered dividing it between males and females) – but in the end, I believe these five are the most notable.

        

#5 Johnny Cash (played by Joaquin Phoenix in Walk the Line)

This isn’t a biopic on overcoming drunkenness, but Joaquin does an excellent job of delving into that territory. I love that morning after where he and all the boys are drunk and Reese’s June turn up. He’s an incorrigible drunk, but he’s also an affable drunk – except when he’s fainting on stage and all. But, I suppose we must take the good with the bad.

     

#4 Blanche DuBois (played by Vivien Leigh in A Streetcar Named Desire)

If Blanche depended on the kindness of any stranger, his name was Jack Daniels. Like many drunks she often tried to hide it, but after her horrid birthday party all bets are off. It’s not so much funny as it is frighteningly unnerving.

      

#3 Terry Ann Wolfeyer…along with Denny (played by Joan Allen and Kevin Costner in The Upside of Anger)

Oh how I love Joan Allen, how I loathe Kevin Costner (but not here). Terry is an ultimate drunk, she drinks alone – which is a bit unnerving, until she gets Denny as a drinking buddy. But she can drink him under the table, anywhere. It could be at dinner, at her daughter’s graduation, just after her husband has “deserted” her – she’ll keep drinking with that same pensive look on her face. That’s what we call dedication.

    

#2 Jack Sparrow (played by Johnny Depp in Pirates of the Caribbean: Curse of the Black Pearl

Sometimes I forget he’s a drunk and just presume he’s crazy. Perhaps, it’s a bit of both. He’s exaggerated, he’s histrionic and he’s a lot of fun to watch. For shame, Disney, what kind of licentiousness are you promoting? I love it.

        

#1 George and Martha (played by Richard Burton and Elizabeth Taylor in Who’s Afraid of Virginia Woolf)

Who didn’t see this coming? It seems I may have to disqualify them; they’re topping too many lists (here, here). I can’t be the only one afraid to pick up a liquor glass after this watching these two having “fun and games”. Just look at the consequences of a nightcap. (Shudders)

  

Honourable Mention to Karen Walker, she’d suck the alcohol from a deodorant stick – if that’s not drunken dedication, I don’t know what is.

    

Which of these drunks would you be afraid to take on in a drinking match?

The Taming of the Shrew: Shakespeare Remembered

Another repost in my TOP 100 entry while I'm away...
...I shall be counting down the final ten soon.
              
I have a penchant for Shakespeare. As far as I’m concerned he’s the greatest writer in the world living or dead, and I’ve always taken a liking to films based on his plays. Some are good and some are not so good, but I am very fond of this particular adaptation. The Taming of the Shrew is one of the best Shakespeare adaptations to hit the big screen. It’s just a really good film – the writing, the direction, the costumes and oh the acting. I’m trying to describe this film and all the words coming to me are superlatives. Richard Burton and Elizabeth Taylor are two of the greatest actors ever and this is their second best collaboration (second only to Who’s Afraid of Virginia Woolf?). The strength of this play lies in the portrayal of the main character Katherine – the eponymous Shrew and Elizabeth Taylor is magnificent in this tour-de-force role. If Hamlet is the best male role Shakespeare ever wrote then Katherine is definitely the best female role.

The story of The Taming of the Shrew is simple. Katherine is the older daughter of Baptista a nobleman of Padua. She is a shrewish and temperamental young woman who vows never to marry. Her sister Bianca is somewhat of a hussy – well as much as you can be in the 1500s. She has countless suitors flocking to her, but Baptista refuses to relinquish his youngest until the older is betrothed…which doesn’t look too likely. A rather brash man shows up in Padua willing to try his hand at wooing at Katherine since she has a respectable dowry on her. What ensues is a string of highly comedic scenes and lots of loud voices with much hilarity. If you know how it ends (and shame on you if you don’t) you’ll know that the ending is somewhat unsatisfying in terms of the women, but I always figured that this was meant to be a satire (like most Shakespeare comedies) and not a realistic outlook on life. And at the end of this movie, there's a shot of Katharine's face that seems very enigmatic.
                        
It’s a testimony to Elizabeth Taylor that whenever I read "The Taming of the Shrew" it is her, and only her, that I imagine as Katherine. You’re probably wondering, is she the only good in the film? Of course not. Richard Burton more than matches her as the cad Petruchio. We already know that they had great chemistry, but it’s really heightened in this film and especially the wooing scene is just a joy to watch. The physicality of both their performances is just engrossing. And with Liz and Richard doing their thing it’s quite hard actually for anyone else to get a noticed. The original play was already working against them because only Katherine and Petruchio have especially strong scenes. However, Victor Spinetti who plays Hortensio – a friend of Petruchio – was memorable in his supporting turn.


It’s kind of beyond me as to why this movie only got 2 Oscar nominations [for Costume and Art Design] I mean, the year wasn’t exactly THAT tough. The nominated the goddman Dr. Dolittle for best picture. What's more amazing is that this movie was shot after Who's Afraid of Virginia Woolf? where they both went the deglam route.
                 
This is #95 on my lists of memorable films, and if you haven't seen it, and many haven't, you should definitely go and check this film out. You won't be disappointed...I hope. In addition to the great acting of the leads, the aforementioned costume and set decoration, this film boasts a melodic comedic score, and beautiful cinematography. Franco Ziffirelli does a good job directing the film, and although it doesn't stick staunchly to the play it's still too much fun for me not to love it.

“Why Did We Get Married?”

f there’s one thing the cinema can do, it’s make an impression on you – and one thing that’s they’ve done constantly is make marriage seem like a sick-twisted game. Some couples do it for fun, and some do it because they’re incompatible. It’s a bit crazy when you think of it because if they’re irreconcilable why get married in the first place? Hence the title… (click on the links for thoughts on the films)

                 

Rhett: Frankly, my dear, I don't give a damn!

Rhett and Scarlet from Gone with the Wind (1939)

Of course they’d make the list…they made the other one too. What makes them smarter than the others it that at least they ended their marriage. They realised that this thing was heading nowhere. I still find Clark Gable a bit too audacious at times (am I the only one getting the Clooney vibe…whom I am not fond of) but the paring with the brash Scarlet works lovely even if they end up tearing their heads off in the end.

Reason #5 – don’t get married [The wife will be lusting for another man and the husband just will not give a damn.]

Reason #5 – get married [The wife will never go hungry again…but still the husband doesn’t give a damn…yikes]

         

Brick: How in hell on earth can you imagine you're gonna have a child with a man who can't stand you?

Brick and Maggie (the Cat) from Cat on A Hot Tin Roof (1958)

It’s a bit too different from the play, but I still love it so. I suppose that Elizabeth Taylor is the only one able to completely embody the iconic Maggie the Cat (I often wonder what Catherine Zeta Jones could do with the role). It’s a bit annoying that they pair her clad in a sensation white dress with Paul Newman and they don’t…you know, get it on. But, of course, that’s the entire conflict of the play.

Reason #4 – don’t get married [The husband will withhold sex and the wife will hate your in-laws.]

Reason #4 – get married [Maybe the husband will look like Paul Newman and maybe, just maybe, the wife be hot like Lizze, you can dream.]

Eleanor: I could peel you like a pear and God himself would call it justice.

Henry and Eleanor from The Lion in Winter (1968)

Really, they’re twisted. They move from whispering sweet nothing importants in each others’ ears to pulling out all the stops to make the other cringe. Just when you think they do love each other they turn around and are spitting venom. It’s all very confusing…and then they’re children too, self destructive but oh so lovely to watch…

Reason #3 – don’t get married [The children will hate the parents, the wife will try to conquer her husband’s territory – he’ll jail her and he will pick up with his son’s fiancée and threaten to annul his marriage.]

Reason #3 – get married [The wife will look good even when she’s near sixty, and they both will have a knack for brilliant line readings.]

           

Carolyn: Oh, you don't complain? Then please, excuse me, I must be psychotic, then! If you don't complain, what is this?          

Lester and Carolyn from American Beauty (1999)

Hmmm, they’re just all around toxic. It’s so hard to imagine when they’ve ever had better days. She’s just too neurotic and he’s just too…well, he’s just not interested. It’s a pity, though. Their scenes together are so lovely.

Reason #2 – don’t get married [The child will feel alienated and pick up with dope fiend, the husband will smash plates and lust after teens and the wife will hate him and have an affair.]

Reason #2 – get married [“I will sell this house today”, well that’s what the wife thinks and thus husband will look good naked, or so he hopes.]

               

Martha: If you existed I'd divorce you.

George and Martha from Who’s Afraid of Virginia Woolf (1966)

How could they not be on the list? They’re so twisted and the reason they’re at the top of the list is because they seem to enjoy it so much. It’s like all this violence is some twisted bit of foreplay that they cannot do without out, and it is so brilliant (and brilliant I mean scary and by scary I mean excellent) that I cannot look away.

Reason #1 – don’t get married [They both will be drunks and he especially will despise his father in law.]

Reason #1 – get married [Did you see this movie…? The upside is you die

               

Take your pick. Which spousal argument is your favourite? My favourite is #3, the most dastardly is #1.

"To Be Or Not To Be…"

...A Shakespeare Lover.

         

Why are people so fond of adapting Shakespeare to screen? I do feel he’s arguably the greatest writer so I have no issues with it, but it’s really interesting how he’s adapted and then re-adapted and then adapted again, just for good measure. The man sure has left behind a legacy. Two films I’m anticipating this year are Shakespeare adaptations. The first is Julie Taymor’s The Tempest. I like, but don’t love, The Tempest and I’m not too enamoured with Taymor’s decision to change the sex of Prospero (even if the lovely Helen Mirren has been given the reins). The second is an updated version of Coriolanus, a play I’ve never read (but I’ve never been overly fond of his histories). But with Vanessa Redgrave and Ralph Fiennes, I don’t see how I can say no.

            

I can’t say which adaptations of Shakespeare’s work are my favourites, although this list does pretend to be about that. But five incarnations come to mind immediately when I think of Shakespeare on film.

      

Hamlet (1948)

Olivier’s Hamlet has its issues, a number of them actually, but I’m always willing to forgive them – like Jean Simmons’ simpering Ophelia, Olivier’s obvious oldness, Herlie’s obvious youth – because it all comes together well. The film depends so much on the foreboding atmosphere, and with the black and white and the misty screen it’s so reclusively tense we can’t help but spiral down with Hamlet as he takes his journey. I guess, it did deserve it’s Best Picture win.

  

Much Ado About Nothing (1992)

Branagh and Emma Thomson sizzle on screen as Beatrice and Benedick, and though this too has its faults (Keanu Reeves, ugh) it’s all done well. I’m actually not a big fan of the actual play, but unlike many pieces it translates excellently to screen. I guess reading it can never compare to seeing it acted and Much Ado About Nothing doesn’t shirk on the joy of it all. It boasts one of Emma's most delightful performance, it's a pity it's become forgotten...

            

Twelfth Night (1996)

...forgotten like this, another Branagh piece. I always remember the lovely Helena Bonham Carter with affection in this. Twelfth Night is my favourite Shakespeare play (an odd choice, I know), it’s perhaps my favourite play – period. There’s just something irresistible about the nuanced nature of the characters and the ridiculous machinations of the characters as subplot after subplot develops leading to perfectly delight conclusion. Imelda Staunton and Ben Kingsley too are worthy of remembrance. I can’t say why Branagh’s film has become so forgotten…

       

The Taming of the Shrew (1967) (my review)

This film actually makes an appearance in my top 100, but has anyone seen it? This is Richard Burton and Elizabeth Taylor with the most chemistry between them. It’s sheer joy to watch them play excellently off each other in this farce piece. It may probably be a bit too irreverent for Shakespeare worshipers, but I’m sure that he would have enjoyed it for the sheer fervour with which they attack the lines.

           

Romeo & Juliet (1968 (my review) 

This is actually quite a simple choice. As I mentioned in my review of it, it’s close to perfection. Leonardo Whiting and Olivia Hussey are astounding as the eponymous characters and the ensemble cast backs them up well. It’s not at all maudlin and just as excellent as the original. I’m uncertain if any Shakespeare incarnation could ever top this?

            

What do you think? Is Zeffirelli’s take on the greatest love story a paragon of its genre as I believe, or do you have another favourite?

20 Word Film Blog-a-thon

Owing to The Kid, I've got to now tell you why I love the cinema...but in 20 words. Yikes! So, here goes....clicking on the links would probably clear up any confusion....
            

Why DO I Love the Cinema?

Katey, Marty, George.
Rebels: Old and New
Merchant Ivory – Schlegel Sisters
Musicals…comedies – Woody to Judy.
Ingénues and veterans
...Love & War
             
No it's not a coherent paragraph, God knows, I couldn't manage that in twenty words...by order of The Kid - get bloggin'!

Cinematic Romance: The Sixties

 

 

 

 

 

 

 

 

The Robe

The Robe is a film that is thoroughly religious. Perhaps it was even more religious than the religious adaptations that the era was wrought with at the time. I suppose, it was a bit of an irony to have Richard Burton star in such a thoroughly religious film since he does have a reputation as something of a heel. But, all things being relative, who isn’t? If played in chronological order, it would suffice as a sequel to the life of Christ. Burton plays Marcellus, a Roman soldier, one of those who nailed Jesus to the Cross. While dividing up his belongings Marcellus happens to get the eponymous robe, which spirals his life out of control.

                             

If you haven’t seen this movie, what’s your excuse? Along with King of Kings, Ben Hur, Home Alone, The Ten Commandments, Miracle On 34th Street and Jesus Christ Superstar [don't ask why] this movie is inescapable come Christmas and Easter Time. I suppose it wouldn’t be up your alley if you’re an agnostic or something akin, but all in the name of film making, eh? Richard Burton and Jean Simmons are the core of the film. Simmons’ plays Diana, a Roman young woman in love with Marcellus who eventually follows him in his quest for a new religious awakening. It probably is not too demanding a role of Simmons, all she has to do is look pretty and be the object of Burton’s affection. And well, she pulls it off. Doh.

                  

Technically the film is a triumph. As with so many of these religious epics it calls for luminous sets, beautiful costumes, pretty cinematography and it’s all pulled of so well. But it’s those dark moments at the crucifixion that seem so well made; the dark tone is palpable and almost chilling. And the entire film itself is particularly well made.

                               

I wonder what the response of the film audiences was at that time to Richard’s histrionic. Yeah, I love the guy, and I call it histrionics. But it won’t have been the same if he played underplayed it. It’s not that kind of movie. For some reason despite the obviously serious intention of the film, I can’t help thinking that Richard’s just having fun playing this role, and really it shows.

               

The film is easily unsubtle; in fact there isn’t a subtle bone in its body. The ending has Burton and Simmons ascending the stairs of heaven, literally. But still it’s not un-enjoyable; it’s almost campy sometimes – especially when portraying Caligula. I have a strange affection for this; it’s obviously rooted in Burton who’s just outstanding anyway you put it. But it’s more than that. Sure it’s a little cut and dry when it all comes down to it, but it’s a nice little film or epic. Depending on which way you look at it. And it’s my #99.