Music Break [...with Stephen Sondheim and company]

Catherine Zeta-Jones recently won her Tony for playing Desiree Amfeldt in Sondheim’s “A Night Music” – I’m not her biggest fan, or anywhere near, but good for her. I found it slightly amusing, though, that when she left the show and theatre icon Bernadette Peters took over the role everyone was saying that CZJ should give back her Tony and let Bernadette claim it. I mean, did anyone think that Bernadette would NOT be better than Catherine? The woman’s all kinds of awesome (I wonder why she wasn't their original choice for the revival). Anyhow, here’s the iconic number from “A Little Night Music” through the ages – from the Original Broadway Cast Production, through some notable film actor all the way up to the recent revival. 

The Original Desiree, you may remember her from Mary Poppins

It's as if there's no Sondheim standard she hasn't covered...

This version is so touching, it's a shame she never actually played the role...

Wow. Seriously? Isn't she brilliant?

She performs it well, no doubt: and so lovely to look at...

It's not a performance, and the feedback is dreadful...but she's always amazing.

                 

Good morning everyone.

A View From... Hamlet's... Night Music and Sherie

One of the few hundred detractors of not living in New York is not getting see anything on Broadway. I'm neither here nor there about the Tony Nominations, though I'm glad to see a few names there...especially those from the film world...and some stage stalwarts like Sherie Rene Scott, above (who I hope finally wins her goddamn Tony Award). I do wish my beloved Cheno had gotten nominated, but alas no. Any nominations made you particularly glad? Have you (gasp) seen any of the shows? See the full list HERE.

Scene On A Sunday: Chicago

I’ve spoken enthusiastically about Chicago and about Catherine Zeta Jones in it before, and always my thoughts go to a particular scene in the film. I often refer to it as my favourite scene in the film, but the entire film is excellent – so I can’t be certain. Velma is at her wits’ end and knows that Roxie is taking so she goes to make her plea for a collaborative effort. It’s already funny because we’ve only just heard her tell Mama Morton that she would only suck up to Roxie “over her dead body”.

          

I love how she comes in so sanguine.

Mind if I join you? She's not being overconfident.She knows very well that Roxie does mind, but she's being the ultimate diva and ensuring that we never see her sweat. Then she takes out the box, oh so incidentally. Am I the only one who thinks that Velma probably confiscated the box of chocolates? Its seems like just the sort of thing she'd do, then go into her lie:

Look what some Johnny sent me. Triple cream caramels all the way from San Francisco. 

             

Roxie’s cold demeanour throws her though, even as she tries and tries to cajole mentioning her double act with her dead sister. I love her slight looks of fear like this one as she prepares for her “Act of Desperation”.  She's worried, and it's the first time we're seeing it.

 As she goes into the prelude for the number this particular short always amuses me.

Is that faux cheerfulness just for Roxie's behalf, is she imagining this double act with Roxie or remembering her departed sister? She starts out her number in typical diva fashion and I love how the camera cuts to Roxie’s bored face.

Say what you want about Renee, but she knows to sell her emotions with her face and doesn't she look so innocent in that costume? Nothing like the snake underneath. But back to Cathy, she attacks the number with fervour she's even frantic; just look at the shot below.

 It’s amazing watching her do her thing though,and I especially love the part where the music shifts into the Egyptian beats.

Cinematographer Dion Beebe makes her look so very good. It was an excellent year for the category, but damn I wish he'd taken it home. I heard a detractor comment that Catherine's height makes the scene awkaward, but I think it's her svelteness that makes her look so enticing, especially on that table.

Even Roxie isn't able to be completely stoic. Catherine ends the first part with aplomb, even if Roxie does shoot her efforts down.

 Pbbbbbt

But it's a good thing Roxie's a sceptic, because it leads into the very excellent part 2 of the dance.

She'd go...

The chair dance is something special, Velma/Catherine really is a talented lady and all the technical elements come together so well. I don't know who to thank most for this shot: Catherine (dancer), Rob (choreographer) or Dion (cinematographer).

See, how even Roxie's impressed by it all.

 

 As she climbs the steps to complete the number I'm amazed at how in character she stays - singing, dancing, acting and emoting. The number's getting more frenzied by the second.

 Here's a few partin' shots..

 

 

 The above shot really puts into perspective just how much dedication she put into this: no stunt doubles...and then the slide down the pole...

 

I love how the number ends with the shots of her face.

I like the first because because you can see how into it she is as she sings that final note, but the second one with the look of desperation is so poignant. Knowing how smart Velma was she probably knew that Roxie was not going to take her up on the offer... but what a thrill ride it was watching her plead her case.

Performances of the Decade (Female)

You know me well enough by now to realise I’m not averse to honouring some of the more maligned performances if they work for me. It is (as they say) what it is, and when I like it – I like it. Still, it’s not like I think they’re bad otherwise I wouldn’t like them. Still, there are quite a few performances I like that haven’t caught on, but this is one of those that’s a head scratcher for me. I never can understand what’s not to like about this performance since it’s so obviously good. Isn’t it?

               

#12 Catherine Zeta Jones in Chicago (2002)

I don’t know what it is about the Supporting Actress Oscar but it seems to attract bitchy women; well not bitchy but definitely opinionated. Since Jolie’s psychotic patient we’ve had strong willed artists, strong willed drifters, strong willed actresses, strong willed human rights activists. With the exception of Jennifer Connelly – it’s been a long line of strong willed ladies and it’s not difficult to see the attraction. Who doesn’t love seeing an actress sink her teeth into a nice, juicy diva-esque role? The thing about these roles is that as much as you need to ascertain the almost theatrical behaviour of your character you need to fill in the edges and make the character ring true – and Catherine does.

                  

It begins with “All That Jazz” – acting in musicals is not about being a great singer. I’ll attest that, even if some will disagree, but having a good voice is not a throwaway either and Catherine has some amazing chops. The things is, unlike a recent singing Supporting Actress winner Catherine doesn’t sing, then act, and then sing again; she does it in tandem: which is why the performance works. Marshall and Condon do really take a gamble with Chicago because within twenty minutes so much goes down that it’s easy to miss it. We know Velma has murdered someone – the blood on her hands…we can fill in the blanks – and when the police enter the club during her performance I love the awareness on Catherine’s face as she notices them, which immediately segues into the line “No, I’m no one’s wife but oh I love my life”. Sure, it’s part of the song, but that look on Catherine’s face is an excellent acting moments. Right there, she’s filling in the blanks and we’re not even realising it yet. She still has much heavy lifting to do.

Heavy lifting like “Cell Block Tango”: a number that depends on her candour and her ability to showcase Velma’s ego and talents. I remember while listening to the DVD commentary Marshall remarked on how in touch with the character Catherine was. The moment in "Cell Block Tango" as she’s telling her story and she poses for the camera as the light bulb flashes. It’s almost an offhand moment, and also an improvised one. Still, it’s completely Velma: still the star even while playing the victim. She’s so caught up in her own game she’s unable to draw the line between the role and herself. It’s her crowning glory and it’s her crutch, and Catherine knows this. As despicable as Roxie is, can you really trust anything that Velma tells you? She’s a savvier diva than Ms. Hart, which is what makes her so dangerous.

I like Chicago a whole lot, you already know that. I’ve probably said it before, but my favourite moment in the film is probably the one that should work the least. As a scene being read “I Can’t Do It Alone” doesn’t really work with the film. It’s more performance than plot driven and could be excised without a glitch – just have the lines spoken – but when Catherine reaches that zenith of performance it’s all outstanding. It’s my favourite part of the film. The raw emotion packed into this number, the oozing sexuality mixed with the heightened desperation is pathetic and scintillating all at once, and it never feels phoned it. She’s never just singing, or just dancing, or even performing. She is being Velma Kelly. As she flutters through the courtroom, performs the (unfortunately) deleted Class and that final spoken moment, her reaction to the torn stocking – another moment that’s really not that *big*, but that’s the thing that makes me wonder how she’s become so underappreciated. She sells us the big moments, boy does she sell them. But when she needs to get subtle, when she needs to sell the want with her eyes Catherine delivers. It’s not just a good musical performance – or a good singing performance. This is a brilliant acting foray. Catherine Zeta Jones IS Velma Kelly. Say what you want, but I’m a believer.

But have at it? How does she measure up in your opinion? Excellent or passable?

2002: Women in Film

The two acting categories were quite uneven. The Supporting Actress race was overstuffed with big and small [but good] performances from women, but the leading race was devoid of any exceptional work other than from a few constant few women. Here’s a rundown of my favourites that year.

       

Supporting Actress

Runners Up: Lisa Meryl Streep in Adaptation, Claire Danes in The Hours, Miranda Otto in The Two Towers

Tier Two

Patricia Clarkson in Far From Heaven

Toni Collette in The Hours

Cameron Diaz in Gangs of New York

Alison Janey in The Hours

Michelle Pfeiffer in White Oleander

Obviously, I was no fan of Meryl in Adaptation, but that wasn’t really her fault. I was not a fan of the film. Cameron Diaz earned a Golden Globe and SAG nod and still turned up empty handed at the Oscars. Sucks to be her. Patricia Clarkson and Michelle Pfeiffer gave strong performances that went unnoticed by most that year. Collette and Janey couldn’t make it with all the good work done in The Hours; but I was a fan.

        

The Nominees

Queen Latifah in Chicago

Julianne Moore in The Hours

Samantha Morton in Minority Report

Miranda Richardson in The Hours

Catherine Zeta-Jones in Chicago

It was only this year that Julianne equated with Catherine’s Velma. I won’t choose between the two women. I am a big fan of both great performances, no matter what many seem to think of the latter. Miranda Richardson gave the best performance [minus the trinity] in The Hours and I was really impressed by her Vanessa Bell. Samantha Morton was outstanding in Minority Report in an understated performance. Spielberg directed her to greatness. And Queen Latifah was just right as the Matron in Chicago. Altogether, each of these women impressed me much.

           

Leading Actress

Tier Two

Jennifer Aniston in The Good Girl

Jodie Foster in Panic Room

Goldie Hawn in The Banger Sisters

Salma Hayek in Frida

Alison Lohman in White Oleander

I’m sorry that Hayek had to miss my top five. She’s head and shoulders above her peers in Tier Two, not that Alison Lohman’s turn in White Oleander didn’t impress me much.

          

The Nominees

Nicole Kidman in The Hours

Diane Lane in Unfaithful

Julianne Moore in The Hours

Meryl Streep in The Hours

Renee Zellweger in Chicago

It’s an exceptional bunch of women, it’s almost difficult to choose. Almost. Lane is fifth, but her good performance is not to be underrated. I’m all the more happy that such an atypical performance saw Oscar love. The remaining four are real head-scratchers and I’m tempted to make it all a tie. But no. Julianne comes in at fourth, it’s not my favourite of hers. But it’s still outstanding. As is Zellweger’s Roxie Hart – which is my favourite of hers. It’s a good performance, regardless of what you think of her singing. That leaves Streep and Kidman who are almost equal in their goodness. It’s my favourite Streep performance of the decade [and maybe the last one, too]. I wouldn’t have minded if they went all fraudulent and put her in Supporting for this, but it’s just my luck that the performance I like is the one they ignore. Eventually Kidman wins it, just for the chemistry she has with Richardson AND that pivotal train station scene. Still, I’ll say it, Meryl is golden here.