Encore’s Birthday Marathon: Day 18

CS had asked me which of Scorsese’s “periods” I prefer and I was reticent about pouncing unremitting faithfulness to the Scorsese/DiCaprio era. In theory I don’t think it’s his premier period but still I seem to have commitment to it. Regardless of whether or not it reveals poorness in my allegiance as a Scorsese supporter The Departed is my favourite of his films and The Aviator is probably the film of the last decade that I’ve dedicated most ink to. It’s as I’ve said before, 2004 was a watershed for me in terms of the movies and 2004 was all about The Aviator. But, more than that it was the beginning of the Scorsese love.

             

Periods is probably the best way to start the discussion on Scorsese. Both because Scorsese’s style – as continuous as it is – often seems to be divided systemically according to years. Then, the The Aviator (which is a great film for repeat viewings) does so many things with classical movie periods and camera use. I’m not overly pedantic about the expressly technical side of filmmaking, but Scorsese is the type of director who makes you appreciate the more meticulous aspect of the trade. It’s probably why the loudest of his naysayers always accuse him of brilliant segments, but a truncated whole. I’m almost always certain that they’re talking about Gangs of New York when they say that, but the truth is – they’re sometimes talking about The Aviator. I won’t re-re-review The Aviator, but I will say that the way in which Scorsese makes films insists on that fastidiousness which I suppose could come off to some as too much head and too little heart.

      

This is why I’m always surprised that The Age of Innocence, one of his best in my eyes, is so heavily glossed over or even excised from his 90s period. True, it’s meticulous in that sense of luminosity that the best of period pieces seem to retain but it’s also particularly organic and sincere. I don’t care to disprove or affirm the theory that Newland Archer, for all his ostensible quietness, is just as violent as the more notorious of Scorsese heroes – it’s debatable. What is significant, for me, is the dynamism of his talent which it reveals.

                         

I’ll admit, that as a staunch supporter I often wish that Scorsese would do (more) comedy. I’m abysmal, perhaps, but I’ve still not touched on After Hours. Even his most gritty dramas Scorsese has such a handle on humorous situations which he manages to deliver without compromising the tension. The one that springs out to be first is the entire first day of Francine and Jimmy in New York/New York. I’ve never seen either Minnelli or DeNiro as comfortable doing banter as they are there, in another oft forgotten Scorsese venture. On the note of first meetings, the one between Howard and Katharine in The Aviator drips (deliberately, I’d presume) with that Cukor-esque form of humour which is *vastly underrated*. Or how about the cranberry juice in The Departed?

                   

It’s not that The Aviator was the first Scorsese film I saw, but with all of the cinematic allusions of which it comprises it makes sense that it’d get me interested both in film and Scorsese. I’m still working my way through his filmography, and it’s a premature statement to make without having completed it. But, I’ve not seen a bad Scorsese film. Yet.

         

Alice Doesn’t Live Here Anymore B/B+

The Aviator A

Cape Fear B+

 Casino B+

The Departed A

Gangs of New York B+

GoodFellas A

The Last Temptation of Christ B+ 

Mean Streets B

New York / New York B+

Raging Bull A

Shutter Island B

Taxi Driver A-

            

Pick a favourite, or three. What’s your least favourite?

Encore’s Greatest Voices: #50 - #41

The title may be a bit misleading, so I’ll explain. A few weeks ago Heather of Movie Mobsters wrapped up her excellent feature counting down the fifty screen villains she considered most dastardly. She did them in bouts of them until the final leg. The blogosphere is the only place where unoriginality isn’t reviled so I’m making my own list of 50, but not of villains and not exactly the best voices actors. I always wonder if voice-work alone will ever be able to constitute an Academy Award nomination…probably not. Herein I’ll be counting down the fifty voice performances that have impressed me the most over the years. Essentially it’s all animated (save for three live-action films, which we’ll get to). Now obviously this list is as subjective as can be, so I’ll depending on you to weigh in and tell me how off the beam some of my choices are.

                  

#50: Sacha Baron Cohen in Madagascar

as King Julian

“I like to move it, move it.”

I can’t confess any significant appreciation for Madagascar which is one of those implausibly successful children’s films that does little for me. In the midst of the most uninspired voice work and a turgid story Cohen’s insane King Julian was a delight. Cohen is known for his physical humour but he knows something about using his voice to full effect (see Pirelli) and his voice-work is easily the standout of the film.

              

#49: Joanne Woodward in The Age of Innocence

as The Narrator

“It invariably happened, as everything happened in those days, in the same way.”

Unlike many narrators, Joanne Woodward’s “character” is not a part of the film. She uses her voice only to give us little musings on New York society at the turn of the century. She is wry, she is affable and she is charming...really, she's almost a character herself.

              

#48: Woody Allen in Antz

as Z

 

“Actually, I generally just make belittling comments and snicker behind death's back.”

Woody Allen isn't noted for his voice and Antz is one of those animated films that has become easily forgotten. Still, Allen's dubious protagonist who (surprise, surprise) is just the slightest bit of a neurotic is an interesting change of pace for the icon.

                        

#47: Glenn Close in Tarzan

as Kala

“And you will always be in my heart."

I'm not overly fond of Tarzan, it's really all been-there-done-that (and better), but Glenn Close's performance as the maternal Kala is a brilliant piece of voicework. Yes, she's given a number of overly sentimental lines (see above), but she makes them work and finds the sincerity in this slightly convoluted (albeit, diverting) film.

                           

#46: Ralph Fiennes in Wallace & Gromit in The Curse of the Were Rabbit

as Lord Victor Quartermaine

 

“You can hop, but you can't hide!”

When it comes to Ralph Fiennes talents, I remember him for his ability to act without using his voice. In that way he seems like an unlikely candidate for voicework, and I don't even like Wallace & Gromit. Yet, Fiennes carves a delightful stodgy villain (or should that be moulds) and provides the film with a good deal of laughs.

                 

#45: Eddie Murphy in Mulan

As Mushu

 

“Hey! Dragon. *Dragon*, not lizard. I don't do that tongue thing.”

Eddie Murphy’s brand of, usually, broad humour is hit-and-miss for me, but like so many great comedians his knack for using his voice proved invaluable to success of Mulan. Mulan is another Disney flick of the late nineties that’s become somewhat forgotten, but it was an entertaining (if inaccurate) romp through history. As Mishu Murphy was the perfect sidekick.

           

#44: Robin Williams in Happy Feet

As Ramón

“Just a moment. I hear people wanting something... ME!”

Really...what is there to be said? Williams has a talent for adept voicework and Ramón in Happy Feet is over the top, he is theatrical and he is everything that Williams can do, excellently. It's ridiculous, but it is still enticing. And those line readings!

                    

#43: Mike Myers in Shrek

as Shrek

“Donkey, two things okay? Shut... up.”
Shrek has reached a dismal end, and many forget the slice of delight it was back in 2001. I’ll admit, after the sequel, things headed down but Myers’ ogre was an amusing hero and Myers was able to bring the funny without going overboard. With an accent like that, it could not have been difficult but he kept Shrek realistic, but unbelievable at the same time.

#42:Eleanor Audley in Cinderella

as Lady Tremaine

 

“Above all, self-control.”

Incidentally Cinderella is often forgotten - part of that must be attributed to its mostly forgettable score. Still, within everything Audley gives a thoroughly chilling performance as the Step Mother. She's so scary because she's always so calm and her voice is just scary.

                 

#41: Peter Ustinov in Robin Hood

as King John (and King Richard)

“Mother... Mother always did like Richard best.”

Sure, this version is not Errol Flynn/Olivia de Havilland classic (or Men In Tights) but it's a diverting Disney romp and Ustinov's double role is a big part of that. Of course, it's the villianous John who gets those delicious one-liners and is responsible for showcasing Ustinov's talent. What is with villains?

              

There! The first round on the count to the top of memorable voice performances. What do you think of the first ten?

“I Love You, But I Don’t”

Don’t you hate it when the lovers don’t end up together? Damn, realism to hell I think everyone gets those pangs in the stomach when the credits roll and you realise that the lovers will be remain apart. The thing is, it works in films. So many classics have been memorable precisely because the lovers end up apart, it hurts, but it’s still true. It doesn't count when they die, so things like Titanic and Atonement don't count. I'm talking about those films where everyone ends up alive - but they also end up alone, living alone and not liking it.These are the five that I think do the deed best. Interesting enough, interestingly all five are Best Picture winners four are Oscar winners.

                    
Gone With the Wind (1939) (my review)
"Frankly my dear, I don’t give a damn."

 Clark Gable doesn’t do much for me, granted I’m not the target audience for him to “do things to”. He’s a fine actor, but I just never go crazy for him. Of course, Gone With the Wind is all about Ms. Vivien Leigh who is completely riveting as our protagonist Scarlett. Unlike another entry, Gone With the Wind is often referred to as a love-story, at heart - something I never really see. I will admit though, Gable and Leigh do have some striking chemistry and that makes the film just a little more excellent.

                       
Casablanca (1942) (my review)
"Play it once, Sam. For old times sakes."

Ingrid Bergman is just lovely, and Bogey is no slouch himself. It's another one of those tragically memorable ones and with good reason, I suppose. I don't love it quite as much as the everyone else, but I do love it.There is much to love. True, the romance sometimes is secondary much of the plot - like with Gone With the Wind) and true it's a story that's more about coping with life's hardships than about love...but it's still a story about love at the end of it all.

                 
Annie Hall (1977) (thoughts on Diane)
"La-di-da, la-di-da, la la"

Of course the crux of Annie Hall lies in her become too mature for Annie Hall and in that way I suppose it's not so sad as pathetic. But I can't make a list like this without Woody. Sure, Alvy just can't commit and that's the very reason the relationship cannot survive - and therein lies the tragedy. They just cannot function together forever, no matter how good they are as one. True it's a comedy, but it's a bittersweet one.
            

Shakespeare in Love (1998) (my review)
"This is not life, Will, it's a stolen season."

It's true, like the others, the poignancy in this tale lies in the fact that the lovers don't end up with each other, but it's still sad. Palthrow and Fiennes work so well together, and we know it won't end well for love. Nonetheless, I can't help but get a little teary eyed as they part for the final time, and when that final image of Palthrow pops up walking on the beach...just magic. It's not wholly loved, but I love it enough to make up for the haters.
               
The Age of Innocence (1993) (my review)
"I think we should look at reality not dreams"

Yes, the last one's the one that didn't get that Best Picture win (or nomination), but I'll always pretend. Michelle Pfeiffer and Daniel Day Lewis are scorching even though they spend so much time apart, but little things like a kiss on the neck, a glove are all so erotic, and it's all so tragic. Scorsese knows how to direct tortured souls, and Newland and Ellen are two such souls. Unlike the above four, they don't even get to consummate their relationships and spend just a few moments of almost bliss. Heartbreakingly tragic.

                     
Which of these unrequited lovers thrill you the most? Which of your own would you add?

Celebrating the Master

I just wrote about the birthday of a lovely lass, known to lovers as La Pfeiffer. Jose just recently posted a nice piece about the union of that lovely lady and this man, the master of all things acting. Daniel Day Lewis doesn’t work quite as often as I’d like him to, but when he does he’s exceptional. Yes, that includes his Guido Contini from last year, it was imperfect but entertaining. These are my five favourite performances from this genius (as said by Maria Elena)

                 

Plainview in There Will Be Blood (2007)

"Stop crying, you sniveling ass! Stop your nonsense. You're just the afterbirth, Eli"

                      

Gerard Conlon in In the Name of the Father (1993)

"I'm an innocent man. I spent 15 years in prison for something I didn't do. I watched my father die in a British prison for something he didn't do. And this government still says he's guilty. I want to tell them that until my father is proved innocent, until all the people involved in this case are proved innocent, until the guilty ones are brought to justice, I will fight on. In the name of my father and of the truth!"

       

Bill the Butcher in Gangs of New York (2003)

"You see this knife? I'm gonna teach you to speak English with this fucking knife! "

       

Newland Archer in The Age of Innocence (1993)

"You gave me my first glimpse of a real life. Then you asked me to go on with the false one. No one can endure that."

       

Christy Brown in My Left Foot (1989)

"All is nothing, therefore nothing must end. "
            

"I want the universe to get down on its knees and say Daniel, whatever you do it's okay even if it's impossible, we'll arrange it. That's all that I want"

        

Give him what he wants. He deserves it.

Birthday of a Beauty

Why is Michelle Pfeiffer so gorgeous? She has aged so gracefully. Sure, I was all disillusioned this year with the Oscars and whatnot, but Pfeiffer's surprise tribute to Jeff Bridges was the best moment of the night for me, even if she should have been there - as a nominee at least. It's her birthday today, so I'll just like to note five of my favourite Pfeiffer performances...in ascending order...
             
Lea de Lonval in Cheri (2009)

"I'm probably making a fool of myself... but then again, why not? Life is short! "
       
Catwoman/Selina in Batman Returns (1992)

"Well, that was very brief. Just like all the men in my life."
               
Susie Diamond in The Fabulous Baker Boys (1989)

"Listen, you're not going soft on me, are you? I mean, you're not going to start dreaming about me and waking up all sweaty and looking at me like I'm some sort of princess when I burp?"
             
Madame De Tourvel in Dangerous Liaisons (1988)

"I'm beginning to think you may have planned the whole exercise."
     
Countess Olenska in The Age of Innocence (1993) 

"Newland. You couldn't be happy if it meant being cruel. If we act any other way I'll be making you act against what I love in you most. And I can't go back to that way of thinking. Don't you see? I can't love you unless I give you up."
              
Someone get this woman to an OSCAR.

Scorsese: The Ladies’ Man?

This entry is a miscellaneous piece of sorts in commemoration of the Scorsese blog-a-thon. Bow down to the genius, or at least contribute with an entry (or head over to LAMB and check out the other entries tomorrow).

            

While looking at The Age of Innocence recently I wondered why Marty is called a man’s director. It’s a little bit of a paradox if you come to think of it. In the same way that George Cukor is called a women’s director even though he’s done films highlighting his men and women Marty is given the male monogram even though he works as effectively with his men as with his women. Sure, his films are a bit more testosterone driven, but like Streisand said – there’s always a woman. Of course he directed Alice Doesn’t Live Here Anymore to directly combat the misconceptions. The film earned Ellen Burstyn an Oscar. He hasn’t done such a female centred flick since, but the women are always necessary in his pieces. When I think of Scorsese as a pimp (I use the word loosely, of course) I always come to The Aviator. Of course, I’m just smitten with that because of the Old Hollywood allusions (and Cate/Kate the Great). Still, Howard is literally swimming a pool of women, even if he doesn’t know it himself. Yes, Cate/Kate does seem to take the forefront but from Jean to Kate to Jane to Ava it really about the women. I just pretend that the third quarter is nonexistent, of course…

But, I’ll jump ahead to the next ScorCaprio piece – The Departed. If any Scorsese film stinks of men, it’s this. Vera Farmiga is the only female who isn’t playing a whore or …a kept woman. Yet, she comes out of it looking mighty good, with an underwritten role. Her role is more than a little thankless, but she makes it all work – including that somewhat stodgy Boston accent, which I forgive her for. I’m not sure if it’s Vera’s tenacity, or Scorsese’s brilliance, but Vera’s Madolyn comes out looking better than she did after reading Monahan’s script. If we jump all the way back Good Fellas I suppose we could say the same about Lorraine Bracco, although she isn’t really the only woman on set. Her performance sneaks up on me, a little, though. I’m never expecting her to make any impact, and then she does. I don’t love the performance, but it’s still credible – and I can’t ever hate a Lorraine performance. It’s the same way with Barbara Hershey. I always think I don’t like The Last Temptation of Christ, and I every time I see it I realise I like it quite much actually. I blame it on The Natural, but I’m always apt to think Barbara Hershey is a villain. Am I the only one who thinks she’s an unlikely Mary Magdalene? I mean, she gives a courageous effort – and is quite good – but I always like to think how brilliant it would have if Marty had “discovered” Michelle for the role, before Countess Olenska. She would have been brilliant.

Speaking of The Age of Innocence, I’m always apt to call it my favourite Pfeiffer performance, even though it’s not really her film. Marty really likes his women looking good, though. Liza Minnelli is rarely as lovely as she is in New York, New York and though I’ve never been too fond of Michelle Williams, as a beauty or an actress, within her few minutes in Shutter Island I became a believer. Didn’t you wish that they’d scrapped Lehane’s whole pseudo-psychology shtick and focused on a straight drama with Leo and her? It’s as if Marty’s screwing with us, a little. I honestly become invested in the reality of that relationship, even if Michelle’s Dolores is the most wicked of Scorsese’s women. He has a thing for virtuous women, doesn’t he? Not in the usual sense, but from Madolyn, to Jenny, to Francine to Kate to Vickie how many images of the broken man being consoled by his devoted woman do we have? Sure, the hypothesis goes askew sometimes, but the similarities are interesting. But maybe that’s just him screwing with us again.

              

I can’t account for why Casino and Cape Fear, and both incidentally earned its women Oscar nominations. But I can’t account for how Juliette Lewis (admittedly good) gets nominated for every award body and Jessica Lange goes completely shafted. I’m probably one of the few that enjoyed Sharon Stone in Casino, I wasn’t gunning for her to win but it’s a nomination well deserved. Of course, Jodie Foster’s Iris doesn’t fit anywhere into the whole classification of Scorsese’s women…and I still can’t pick a favourite…I’d be stepping on someone’s toes whomever I choose…but just to go arbitrary Kate for speaking…the Countess for looks. 

The Nineties Revisited: Ep 5

...wherein we come to the end. It's been lovely looking at the nineties in review, and I'm not going to end with a list of my favourite films from the period. That would be boring. Instead, I will highlight the ten best Ensemble Works from the decade. Firstly, remember this list is purely personal. So you may disagree. Secondly, this is not a list of my ten favourite films of the nineties. It's all about the ensemble, those films where you feel every actor is working in tandem with each other. The sort of "You jump, I jump" scenario from the actors. Yes, that one's there.

So, let me hear your thoughts? Give me your top three casts of that decade? Which of my choices have you reeling? Which makes you happy?