I don’t really love Polanski’s The Pianist but Stevee (Cinematic Paradox) LOVES it. No, I don’t think the film is poor – it’s rather good, but I never managed to appreciate it as vociferously as everyone did, and I always resented it because I felt the story behind it was more wholly loved than the film itself.
Nick is relentless at coming up with the strangest ideas for a post and this top ten is a winner. Has anyone seen the trailer for The Whistleblower (the film which will net Rachel Weisz her second Oscar nomination)? Over at Anomalous Material he imagines ten actors saying a line from the film. # 5 is the best. Seriously.
Luke (Journalistic Skepticism) doesn’t like Mulholland Drive. I don’t feel much for the film either way; although I know Castor loves it. It just sort of sits there for me...anyone care to make an argument for me to watch it again?
Eponymous The Flick Chick lists her five favourite body-switching films. She unfortunately doesn’t have the Lindsay/Jamie switch of Freaky Friday. But, she’s never seen it (and #1 and #2 are golden).
The summer movie season is coming to a close, and not fast enough for me. Maybe the rest of the year will be as underwhelming, but I’m hoping the string of disappointments this year is just because the fall season has reached. Ruth (FlixChatter) lists her five favourite summer blockubsters, so I guess her summer has been going better that mine
And to close, who isn’t anticipating Soderbergh’s Contagion. I haven’t keeping track of the behind-the-scenes rambling of most films, opting to be surprised so I didn’t realise Jude was in until Paolo started talking about the new posters over at The Film Experience. I’ve avoided the trailer, and the IMDB page. It’s like a Talented Mr. Ripley reunion...but for Cate. Sigh.
I don't usually watch trailers but could I honestly resist Vanessa Redgrave? No, I could not. Sure, the Shakespearean roots are not obvious but I never really did like Coriolanus much I'm just excited to see VANESSA REDGRAVE. And Ralph.
“There is something peaceful and quiet about Howards End, starting with Vanessa’s haunting walk and introduction. To me, it feels like the essence of the British countryside, of elegance and that high class feeling that Brits always put in their period films. Howards End is, to me, James Ivory’s greatest achievement, such a delicate film, but with such power of acting and fascinating plot.”
Alex (of Alex in Movieland and My Last Oscar Flick) always manages to make each of his words count and his summation of Howards End is fittingly perceptive.
Like him, I think of Howards End as the best work from the Merchant Ivory team, and like him I think of its beginning with Vanessa Redgrave soon after I hear the name. Howards End opens with a picturesque image of a woman walking through a green field near the eponymous Howards End. She, too, is clad in green, and though we don’t know it as yet this woman is the patron saint of Howards End (the film and the place). And though it opens with that image of Miss Redgrave, the story begins just after. An engagement impulsively arises and is broken just as swiftly. A bumbling aunt makes her way to a far off cottage, mistaken identities arise and harsh words ensue – and all this within the first ten minutes only. Yet, remove this preamble and Howards End is no worse (or admittedly, no better) for it. Even though I was drawn to Howards End on first viewing, it took a few more for me to appreciate the importance of this prologue and a few more for me to fully grasp the significance of Redgrave’s sombre walk through the field. And yet, the film isn’t really about Mrs. Wilcox. Like Forster’s original novel, it’s a story of class division in early 20th century England. There are the middle class Schlegels – booklovers and idealistically (if pedantically) good, the upper-class Wilcoxes – sometimes brittle and unrelenting but more than just caricatures and the lower class Basts – there are only two, but they’re just as important. Howards End takes a look at the unlikely clash between these three different groups, and though it’s not a particularly subtle message (Forster’s novel is almost a complete allegory) it’s a pertinent one.
The name Merchant Ivory was in the nineties (and remains, but with less alacrity) a name indicative of good literary adaptations. Howards End easily exists as my favourite. Screenwriter Ruth Prawer Jhabvala seems incredibly at ease adapting Forster to the screen, so that the machinations of these very “literary” characters never come across as unnatural. She does the same with A Room With A View, another Forster novel, but this is in a class of its own. It’s interesting to note how much of Forster’s book (and actual lines) make it into Jhabvala finished script. The lines are as precise as few period pieces and sets up the chance for the actors to floor us with their deliveries, and they do – they really do. When Jose from the wildly insightful (but yet oddly hip) Movies Kick Ass sent in his blurb I wondered “why review it?”…he essentially summed up what I loved about it….
“It’s impossible to watch this movie and avoid being haunted by the image of Vanessa Redgrave walking along a vast path of grass. The ethereal nature of this scene sets a strange mood over a film that so unsentimentally examines the clash of social classes and the creation of what was supposed to become modern England. Emma Thompson and Helena Bonham Carter (both subtly extraordinary) play sisters who come to represent different schools of thought at the beginning of the twentieth century. Anthony Hopkins and Samuel West are their male counterparts who also become symbols for the underlying themes E.M. Forster addressed in his brilliant novel. The miracle in the movie though is watching these symbols become human and witnessing how the film works as a wonderful political study and as an involving, intense emotional drama. Few movies master with such ease the dichotomy that exists between mind and heart; which can be fierce enemies or intimate friends.”
It’s the penultimate line above that jolts me in particular. In transferring a novel so rich in symbolism to the screen Ivory and company manage to avoid one of the unnerving possibilities – caricatures. Instead of the characters becoming symbols, the symbols turn into characters (it seems synonymous, but mull it over – it’s not)
Emma Thompson’s Oscar win for Howards End remains as one of the most obviously good decisions the Academy has made in the Best Actress category. Her performance never fails to impress me upon subsequent viewings, even though to some degree it lies less in Thompson’s acting abilities (which are assuredly excellent) but in her ability to put the audience at ease. She’s only the de facto lead of the film (the main quarter are all given equal time for the most part) but it’s imperative for us to find Thompson’s Margaret to be a trustworthy, if simple, woman. Listening to Thompson recite her lines (and really, she doesn’t recite lines as much as she lives them) there is not the slightest trait of self-consciousness. Emma is so thoroughly Margaret we immediately believe her devotion to Helen – “what do I care Aunt Jules, Helen is in love – that’s all I need to know”. It’s one of her first lines and though it’s the beginning we already know all we need to about this woman.
Consider the words of Luke of Journalistic Skepticism (don’t let the name fool you, he’s much to opleasant to be a cynic):
“Battling through the myth that Merchant Ivory films are overlong and overwrought, Howards End combines the immense talents of its cast, particularly the always-lovely Emma Thompson and the startlingly beautiful Helena Bonham Carter, with an impossibly elegant backdrop. It’s a gorgeous costume drama that never looks down on its audience, and Thompson’s performance is mannered loveliness.”
It’s a period piece, but that doesn’t make it any less “real”. Howards End is intent to presenting as precisely normal a world as possible and Emma manages to find nuances in even those most rote of lines and adds a dash of personality in the places we’d least expect. For example, I love a slight moment where Redgrave’s Mrs. Wilcox instructs her to write her name on the top of the woman’s Christmas list – Emma’s gleeful obedience is amusing and completely in keeping with her character. This is the sort of woman who grows up before her time, but still retains a bit of the silliness – willing to be pleased at being at the top of someone’s Christmas list.
It sets her in perfection opposition (I use the word loosely) to her sister, played excellently by Helena Bonham Carter – the Oscar snub heard around the world (so says me). Helen is just slightly more perverse than her sister, retaining a childish streak of meanness that can show itself at the most inopportune of moments, even when the lines don’t show it. A young lady looking for her husband at their home is given the tart response, “you’re welcome to search for him if you like” – added to Helena’s deadpan delivery and just the slightest trace of a smile playing on her lips makes it impossible for us to dislike her even as she adopts an almost ridiculous sense of pragmatism as the film reaches its close. It’s a fine line she treads, and in the same way that Emma avoids turning Margaret into someone we cannot love even as she does things we don’t care for, we still believe in Helena’s Helen even when we want to slap her. Perhaps more so. Her task is just as difficult as Emma – are people so devoted to the cause? Helena makes it plausible.
It took me years to finally appreciate Anthony Hopkins, whom I now realise plays his role so excellently I subconsciously feel he’s giving a bad performance. True, it’s nowhere near as good as his next alliance with Merchant Ivory, but he’s so subtle (blink and you’ll miss some of his expressions) I eventually realise he’s doing an excellent job. It’s not that the men are put on the backburner in Howards End. In fact James Wilby and Samuel West play pivotal roles reaching to the core of their characters. West particularly is taxed with an almost unplayable and idealistic character (for some reason he reminds me of Lovborg in Hedda Gabler). But West is so willing to trudge on through the righteousness – that is not self-righteous – I believe him even at his most dubious. Simple acts like refusing a substantial amount of money is more than just a pretentious act of gallantry, but a requisite to the character he’s carved and for someone who’s had her fair share of chivalrous leading men it’s no mean feat when I say that Helena has never seemed more at ease with a leading man. The scenes between the two bring a romanticism to the narrative that’s fittingly contrasted with the adulterous undertones and its firm opposition to the Anthony / Emma pairing.
Perhaps because it’s such a tribute to its trade Howards End makes me write like I’m still in high school , but it’s obvious nonetheless that it is one that I love so.
“Howards End is the second masterpiece from the Merchant-Ivory team (E/N masterpiece #1, masterpiece #3], working at the height of their creativity. Anyone expecting the dreamy romanticism of their first masterpiece, A Room With A View, may be surprised at the complexity, subtlety and maturity of this drama. The luminous Emma Thompson, passionate Helena Bonham-Carter, and powerhouse Anthony Hopkins headline this tale of a country house, its meaning in the lives of its inhabitants, and its role in a series of misunderstandings that bring belated contentment to some, and ruin to others.
Gorgeous to look at, a dream to listen to, top-notch in all departments, this is intelligent film making at its best. Compelling and entertaining, it faithfully paints a tapestry of Forster's themes of love, class, family tradition, infidelity, and the yearning of artistic fulfillment. Vanessa Redgrave's supporting turn is but one of the film's many outstanding performances. I am also haunted by the symbolic image of a poor hanger-on literally crushed by his literary hopes and dreams. Howards End would sit proudly at the top of anyone's list of favorite films.”
It’s practically perfect in every way and so delicately made, it’s a pity many don’t even remember it. It’s #2 on my list of favourites, and really it’s interchangeable with the one to come since they’re both flawless, or thereabouts. (So, some of you would have discerned my obvious top choice.)
Do you care for Merchant Ivory? Do you care for Howards End? Speak up.
I have a strange relationship with Vanessa Redgrave. Though I like her between films I remember her talent with more of a slight detachment than any passionate love (still, Katharine H. did single her out as the greatest of her generation). It is such that every time I see her on screen I fall in love with her again. Case in point: Letters to Juliet.
For some reason, when Letters to Juliet ended, I found myself suppressing all the trite, bland and uninspired bits and focusing only on the lovely bits. This was odd, because there was more of the former than of the latter. The world that Letters To Juliet creates for itself is so maddening (and silly) at times that I can’t help but be annoyed with it. This is odd, because the film is so innocent and even saccharine throughout that such that such thoughts seem almost offensive. The best way to put it: Letters to the Juliet is a ridiculously sweet bonbon bookended (at the beginning and the end) by cinematic conventions that are sadly quite uninspired.
Sophie goes to Italy with her boyfriend, played by Gael Garcia Bernal. The two are on odd couple on paper as much as on screen (the role was originally Hugh Dancy's). We know from the instant we see him chattering effusively that this relationship is not meant to be (this is not a spoiler, folks). Of course, his only fault is not being Sophie's destined lover – or maybe it’s loving food more than her, either way he’s not “the one”. In Italy Sophie happens the alleged house of Juliet Capulet. Hundreds of love struck women from across the globe paste letters on the wall that are answered by “Juliet’s Secretary” who offer romantic advice. By happenstance, a letter that is fifty year old arrives in heroines hand and she responds. Here the conceits only grow. Not only is the Claire, woman, alive but she is surprisingly living at the same address for fifty years. She arrives in toe with her grandson (could this be “the one”) and because of Sophie’s letter decides to search for a man she had give up on for fifty years. More contrivances arrive, Claire allows herself to traverse through Italy looking for this man, which is something Vanessa manages to make plausible.
Letters to the Juliet biggest fault is going for the money and not for the heart; as far as I can see really. I can imagine that Amanda Seyfried will sell more tickets than Vanessa Redgrave on a movie poster, but the arc concerning the luminous Ms. Redgrave is more fulfilling even though it’s not exactly fresh. There is no overstatement when I say that Ms. Redgrave is possibly one of the ten most talented thespians alive and her ability to breathe life into even the most contrived of cinematic clichés makes her even more worthy to me. Then there’s the fact that she shares a certain amount of time with Franco Nero the father of one of her three children that makes me a little too emotionally invested in the film.
As the third act looms, though, and Vanessa leaves the story (momentarily) all my feelings of appreciation are gone. Not because Amanda Seyfried is not talented (she is), but she’s not talented enough to carry a film on her shoulders alone. We know she and her boyfriend will part, amicably because he’s not an officious boor (just wrong for her). certain plot machinations will make for a few mistakes then an absolute union with the man of her dreams, yada yada ya.
It is a sweet movie in its way, but not good enough; and I find Chris Egan's performance so insufferably boorish (and that accent, oi!). I was seduced by Ms. Redgrave, but Letters to Juliet is not as good as she pretends it is. But, god bless her, the woman is a treasure to the screen, she can sell any thing.
In the last decade we lost a number of esteemed movie stars, among them Katharine Hepburn. You probably know my feelings on Kate, and I always wished that she’d had a career resurgence before her death. Of course she was in her nineties. These few women aren’t exactly at death’s door (knock wood) but I’m getting a bit antsy for their prospects – cinematically speaking. It’s hard enough getting roles now, but before the next decade they’ll all be seventy. That’ll be even more difficult. Their counterparts (Dench, Streep, Mirren) continue to find success on films. I wish they’d be so lucky. Here are the nine older gals I hope get a career resurrection this decade. The rule is they can’t have had a notable leading role recently, so even though I wish they’d both do better work Sissy Spaceck (In the Bedroom) Diane Keaton (Something’s Gotta Give) and Julie Christie (Away From Her) don’t make the top ten, even though they’re on the sidelines, not far from this nine.
Marsha Mason (67) Oscar Nominations: Cinderella Liberty (1973), The Goodbye Girl (1977), Chapter Two (1979) Only When I Laugh (1981) Last Notable Role: Only When I Laugh (1981)
Back in the days she was a constant Oscar nominee, but I suppose few even remember who she is. She was a formidable screen presence, and I don't think that's something that one can lose. She is particularly gifted in comedy and with so many comedic roles for older women up for grabs it's a pity she can't even land one of those. It's a longshot, I suppose, hoping she'll ever get another good role...
Barbra Streisand (67)
Oscar Win: Funny Girl (1968), Oscar Nomination: The Way We Were (1972)
Last Notable Role: The Mirror Has Two Faces (1996)
You may scoff, but Barbra Streisand is actually a talented. She’s not done a real film role in some time and I wonder if she’s forgotten how to. More than being a talented actress, though, she’s an exceptional comedian and I would love to see her reawaken her comedic talents in a nice caustic role (a la Judi in Mrs. Henderson Presents). She has enough money to fund it for herself.
Sally Field (63)
Oscar Wins: Norma Rae 1979, Places in the Heart (1984
Last Notable Role: Mrs. Doubtfire (1993)
The lady is obviously talented. She is currently doing good work on Brothers & Sisters; but I want her back on the big screen. Sally has a knack for heavy drama and she deserves to get a nice juicy dramatic role. The role of a grieving mother sounds like the perfect type of schmaltzy drama she can make work. I mean, Places in the Heart shouldn’t work as well as it does, but it’s Sally’s talent that makes it succeed.
Julie Andrews (74)
Oscar Win: Mary Poppins (1964); Oscar Nominations: The Sound of Music (1965), Victor/Victoria (1982)
Last Notable Role: Duet For One (1985)
I don’t mind when I see actors I love slumming it in pop fare, but I got no satisfaction from seeing her in The Princess Diaries. It’s become a “given” now that Julie can’t act, but I think that’s an obvious untruth. Sure, she thrives when she sings but The Sound of Music and Mary Poppins don’t work any less she uses her acting skills alone. The woman has a skill with mannered comedy, I’m not sure if she’s given up on acting or acting has given up on her….
Jessica Lange (60)
Oscar Wins: Tootsie (1982), Blue Sky (1994), Oscar Nominations: Frances, Country (1984) Sweet Dreams (1985) Music Box (1989)
Last Notable Role: Cousin Bette (1998) I’m not sure why, but Jessica Lange doesn’t seem to have too many roles (or fans). For the life of me, I can’t see why. Plastic surgery or not she continues to be an excellent actress (see Grey Gardens, Big Fish) and when she spoke about the lack of roles she gets at the Emmy’s last year I felt a bit sad. The woman’s a double Oscar winner, beautiful and talented. Who doesn’t want to see her in a movie? She has a formidable range. I really want someone to give her the chance to use it.
Susan Sarandon (63)
Oscar Win: Dead Man Walking (1995), Oscar Nominations: Atlantic City (1981), Thelma & Louise (1991), Lorenzo’s Oil (1992), The Client (1994) Last Notable Role: The Banger Sisters (2002)
In a way Susan is like Diane Keaton. She’s been doing work, but not deserving of her talent. She gave a valiant performance opposite Carey Mulligan in The Greatest this year, but the film is not worthy of either woman. She just needs to work with better talent; she’s obviously not lost her touch for turning stock roles into real people. I still recall how the stodgy Shall We Dance lighted up whenever she was on screen. I wonder if her separation from Tim will send her career up or down...
Vanessa Redgrave (73)
Oscar Win: Julia (1977), Oscar Nominations: Morgan 1966, Isadora (1968, Mary, Queen of Scots (1971)The Bostonians (1984)Howards End
Last Notable Role: Mrs. Dalloway (1997)
I suppose in some ways this is a bit of a cheat since Ms. Redgrave actually has two films slated for release this year. She has the Amanda Seyfried romance (Letters from Juliet) and the alleged Ralph Fiennes Shakespeare piece (Coriolanus). I’m not certain if they’ll reach fruition, and nonetheless, there’s nothing like too much Vanessa. She remains as one of the most resplendent actors on screen and has aged so gracefully. She was slated to play Queen Eleanor of Aquitaine in the Robin Hood flick this year, but the death of her daughter Natasha Richardson prevented it.
Maggie Smith (75)
Oscar Wins: The Prime of Miss Jean Brodie (1969), California Suite (1978); Oscar Nominations: Othello (1965), Travels With My Aunt (1972) A Room With A View (1986) Gosford Park (2001)
Last Notable Role: Tea With Mussolini (1999)
Maggie has brightened the last decade with supporting roles (some prime) on screen. Her most notable was he part in Gosford Park – which earned an Oscar nod. Still, even that’s been a while. I do enjoy seeing her breathe life into McGonagall in the Harry Potter series, but surely she deserves a greater role to go out on. Maggie is one of those rare thespians who is equally skilled in comedy as she is in drama, so there’s any number of great roles that could be offered to her.
Glenn Close (63)
Oscar Nominations: The World According to Garp (1982); The Big Chill (1983), The Natural (1984); Fatal Attraction (1987), Dangerous Liaisons (1988)
Last Notable Role: Hamlet (1990)
Sometimes I forget that my darling Glenn is over sixty. She always seems so full of life. She’s experiencing a rebirth of sorts on TV impressing audiences with her audacious work on Damages, but I’m not satisfied. It’s not that I don’t like TV – I do. But the screen is where I'll always prefer to see her, and she is worthy of it. I’d love to see her bring that musical version of Sunset Boulevard to fruition - although I know the chances of that are slim at best. The thing is, she can play more than the caustic roles we've come to recognise (and love) her for. Why isn't anyone using her talents?
Which of these women deserves a plum role the most? Or is there someone I've missed?
So it's been solved, my banner is from Howards End...a movie that I adore. Every time I watch I see something new, and it's only now I realised how much Ivory uses nature to bring out his characters. Howards End features one of the most beauteous openings I can recall as Ms. Redgrave saunters through the grass looking resplendent as ever. Isn't she lovely?
I don’t really love Polanski’s The Pianist but Stevee (Cinematic Paradox) LOVES it. No, I don’t think the film is poor – it’s rather good, but I never managed to appreciate it as vociferously as everyone did, and I always resented it because I felt the story behind it was more wholly loved than the film itself.
