“What about the woman?”

The Conspirator: directed by Robert Redford; written by James D. Solomon
 
I couldn’t possibly write anything on Robert Redford period/political drama without pointing the way to Tim’s review which says everything I could possibly say with much more alacrity. So, in a way, this review suffices as something of a footnote because even though I’ve got nothing particularly new to the table I’d feel bad devoting nary a word to the film. The first I heard about The Conspirator was a post that RC of Strange Culture did before it was released, and there’s no doubt that American History is mellifluous enough to precipitate dozens of interesting tales about the Civil War era and whatnot. There is an interesting story to be told in The Conspirator, but there’s a devastatingly trite way in which it is told.

Court-room dramas are in many ways a dime a dozen on film, and even less on television but The Conspirator has a strident hook, and I’m not just talking about the fact that it’s based on a true story. The imprudence with which the trial against Mary Surratt unfolds is a fine example of the lesser aspects of the human race but Solomon’s script approaches the issue with a stifling lack of zest. The technical aspects of the film are done with the right amount of gloom necessary for the proceeding but the script itself peters between unwarranted sagacity and occasional hectoring. And Redford is the kind of director who’s obviously interested in making a “statement” so there’s a fighting tendency for his directing to encourage the script’s occasionally heavy handed nature.
              
But, the cast subverts that nature. I feel a bit annoyed with Redford that he has such a brilliant cast and fails to give them impeccable work. But, looking at the film you wouldn’t know it, well not really. It’s a good ensemble and the actors are all willing to put in credible work. I was looking forward to The Conspirator because of Robin Wright. She made my list of nominees in 2009 for her work The Private Lives of Pippa Lee a film she held down with her luminescence. She doesn’t get to do quite as much here because as much as the film is named after her titular character Solomon’s narrative seems more interested in James McAvoy Aiken, the war hero turned lawyer. And, McAvoy is fine – as is the entire cast – but it’s such a shame that Wright in particular is forced to play her role in a single register (excellently, but still). The film’s female cast – made of Wright, Evan Rachel Wood (impressive in a role that’s too small) and Alexis Bledel in a surprisingly poignant turn. Even though Wright is the de facto lead Redford is intent to leave her for the men of the narrative, sometimes to the disservice of the film. It’s a true shame that Wood and Wright never get a proper scene together.

I can’t berate Redford for trying to make a statement with his own film, but the unfortunate thing is - The Conspirator is not the type of film where entertainment needs to be sacrificed for edification. There’s enough material for his “message” to hit home. It probably won’t be remembered as the end of the year as anything seminal, and it’s not really seminal in fact but even though the film itself is imperfect it’s home for a talented cast and some fine technical work. It’s strange, the film is about the woman behind it all but it’s really about men...too many men.
       
C+

I'll Be Linkin' You (six times)

I'm a sucker for Scorsese, so I love this post that Paolo did on The Last Temptation of Christ by default. Really, though, almost all of Scorsese's films beg you to analyse. I'm both surprised it got any Oscar love, and miffed that it only got one.
      
Stephanie lists her five favourite Sidney Lumet films. I'm still not sure what I'd pick as a favourite. And yet, even though Long Day's Journey Into Night is nowhere near my favourite it's always the film of his I remember first, and not even for Kate. I just think Dean Stockwell is phenomenal in it.

On the note of classics, though, Anna lists the best female classic performances, by her edict. Kate is on there - if she wasn't I wouldn't even have thought of linking this. I kid you not. (PS. Am I the only one who thinks Eva Marie Saint looks like a dead-ringer for Kristin Scott Thomas in that screenshot?)
                
And moving from the classics to the modern, Nicholas offers up a nice review of Kick-Ass. I say no more, it's a good one. I'm crossing fingers that Aaron Johnson comes off that great year last year to make a good career for himself.
            
The Mad Hatter is taking one for the team, watching truly horrendous films...or so he says. The thing is, I've seen only one on the list - so I can't be certain they're that awful, I've never even heard of them. Are they?
         
And to close, check out this fine retrospective of Redford's directing career that Yojimbo charted.

Flashback: All the President’s Men

I’m doing a journalism writing course this semester at University, and on Wednesday our lecturer made us watch Pakula’s 1976 All the President’s Men. It’s a fine example of journalists at work since the adaptation is so devoid of the most obvious Hollywood-ization that most true-stories have today – sometimes, I must admit, to my exasperation.

Hoffman and Redford are two of the most conventionally “seventies” actors and the idea of them working each other is spirited. The thing, the best thing about All the President’s Men is also the worst thing about it. In its staunch upholding of the truth it seems to be devoid of characters, which is – incidentally – what makes me such an admirer of Hoffman and Redford here. They have little to work with, but they make it work excellently. I like Redford, but even at his best I always like him with reservations. And, he’s not at his best here – but he’s good. 

The two manage to make simple interviews come off as well acted arcs; the best of which occurs opposite Jane Alexander in a head-scratcher supporting actress nomination. She’s much better than the role, but it’s still one of the oddest acting nominations I can recall. Oddly, Robards, with a similarly small role manages to carve something much more indelible. No, not worthy of that Oscar, but oftentimes one of the highpoints of the film reminding you that these are real people and not just the means to an end in bringing down a government.

        

Like so many films that retain that quintessential feeling of Americana I often wonder how much more I’d like All the President’s Men if I was an actual American. To its credit, though, what emerges loudest from the narrative is not a pride that is nationalistic but journalistic – garishly, at times. Just like many would say that Saving Private Ryan offers a ferociously authentic look at war All the President’s Men does the same for journalism – although not ferociously. It’s content with showing the unglamorous nature of the job.

This is perhaps what makes the film itself sort of paradoxical for me. It doesn’t maintain the major tenets of the cinema, it’s palpably a non-fiction piece but yet its cinematic aspects are excellently done, its cinematography and score for example – though unobtrusive in both cases – is excellent. But, remember that adage about things not being as good as the sum of their parts? I get that distinctive feeling with All the President’s Men. It’s a fine example of filmmaking that is immediately admirable, both for its cinematic attributes and for the way it pushes boundaries with the form of storytelling – the screenplay is a beauty. But, there’s something distinctly cold about it, soulless even – but I still won’t deny that it’s a fine film.

          

What do you think of Pakula's film?

Male Bonding at Its Best

Because I’m that type of person, I’m always slightly irked at the state of good flicks featuring male duos. We’ve been subjugated to drivel like From Paris With Love (my thoughts). I wasn’t too fond of I Love You Man, either, but perhaps I’m just tough to please. But when I think of male bonding, even though there’s no male alternative to things like Steel Magnolias (what would that be?) you can rarely go wrong with an classic duo – enter cinematic royalty in the form of Paul Newman and Robert Redford. I think Newman’s place in history is assured (he appears in another favourite of mine here), but Redford, especially as an actor is often ignored. He’s just one of those guys whose respected in the business by name, but still is never as respected as he ought to be. Sure, his name is synonymous with that era of classic cinema – but is Redford’s acting talent ever really as appreciated as they ought to be? For all the good films he’s acted in, the man has one Oscar nomination – for The Sting. Fortunately, the nomination is deserved.

The Sting is an intricate that depends on the setup as much as it does on the result. I’m always amazed that it manages to work as well as it does, considering the tentative ground it steps on. It depends on its substance as well as its style, and luckily, George Roy Hill knows quite well. The story follows Johnny Hooker (played by Redford). He’s a petty con artist, but when things go awry with a former partner he enlists the help of the apparently worn-out former con Henry Gondorff. With the help of Gondorff, Hooker attempts to pull of one of the greatest scam. Any other information will doubtlessly spoil the thrill of watching The Sting, and I wouldn’t want to rob anyone of that thrill. There’s always something special watching a classic for the first time, and with The Sting it’s even more especial. The final ten minutes of this tale reveals intricacies that work so well and result in a truly amazing experience.

The thing is, The Sting is often forgotten. As a Best Picture winner (they used to make some excellent choices, back then) it falls chronologically in the middle of the The Godfather and The Godfather II, so it’s often eviscerated from memory by those heavyweights. But I cherish The Sting much more than either of the two, perhaps even combined. It’s unseen by so many, and that’s the pity because it holds up as an excellent film and as a superb heist. I’m actually surprised that in the wake of the era of remakes plans haven’t been made to recreate it with Channing Tatum and Paul Walker. Not to disregard those actors ...but as modern as it feels watching it, The Sting is completely a film of its time. Few stars of our era – as talented as some are – could pull of the charm and skill necessary for this film. From Newman and Redford to a superlative supporting cast of Robert Shaw, Eileen Brennan, Charles Durning and company, the acting is exceptional, as is the direction, the writing, and the classic music. It’s often said, “they don’t make them like they used”. When they do, I think they’re talking about The Sting - #27 on my list of favourite films.