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.

"Ah. There you are. My comfort and my company. We're locked in for another year. Four seasons more. What a desolation. What a life's work."

"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?

Literary Pursuits

I always like to see cinema mentioned in other art forms, especially when it’s an inside joke of sorts. One of the plays I’m reading at the moment – Moon On A Rainbow Shawl – is a Caribbean piece examining the social ideology of post war Trinidad, but I love this particular snippet between two of the main characters.

                        

Rosa: You is a real good looking man, you know?

                       

Ephraim: Good looking, like who?

                    

Rosa: Robert Taylor…

                                   

Ephraim: Please. Go way!

                                         

Rosa: Jimmy Stewart…?

              

Ephraim: He good lookin’?

         

Rosa: William Holden…?

       

Ephraim: Yes, that’s it. Me and he is twins!

                                      

Despite liking him in Picnic and Sunset Boulevard, I still find that Holden rarely interests me as an actor, sometimes bordering on tedious. But I’m speaking as a straight male? Jimmy? Robert? William? Who wins on looks?

(Not on talent – Jimmy obviously wins for that, right?)

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'!

Brooklyn’s Finest

Any legitimate ad for Antoine Fuqua’s latest film, Brooklyn’s Finest, is intent on stressing that this is the man who helmed 2001’s Oscar winner Training Day. I’m not too certain that that’s a good thing. Structural and thematic similarities could easily belie the fact that Brooklyn’s Finest is not a Training Day redux, even if the parallels are existent. Brooklyn’s Finest is concerned less with the battle between the good men and the bad men and more interested of the battle of good and evil within oneself. One the film’s most appealing elements is its lack of judgment (in the first three quarters of the film, at least). Gere’s retiring policeman, Hawke’s devoted family man and Cheadle’s undercover policeman. Of course none of the men are defined by the labels I give them; it’s in the creation of the nuanced characters – something the actors should be lauded for – that makes Brooklyn’s Finest a success.

Hawke’s Sal is a devoted family man, but this is merely one element of his tortured character. I’ve expressed my appreciation of Hawke time and time again, and he doesn’t disappoint here. Hawke is never content with acting in black and white always making for the shades of gray. I can’t refer to each of his performances as a superlative, but his work in Brooklyn’s Finest would be worthy of praise in a fair world. His moments at home (opposite Lili Taylor) are especially poignant. There’s no telling what will happen at the end of the year though, in fact I’m sure it would be forgotten. For the most part, the thin line between good and bad persists in the actions of Gere and Cheadle completing the unholy trinity. Cheadle has never been given a legitimate chance to impress since his impressive performance in Hotel Rwanda and I’ve never been impressed with the legitimacy of Gere’s classification as a good actor. However, both give excellent performances too. Gere’s is more of a slow burn, it’s not until the end we’re able to fully appreciate his technique but both men offer important shades to their characters.

What stops Brooklyn’s Finest from being truly excellent though is that as the film moves into its finale Martin seems content with doing away with  the cast (and the plot) in the most pedestrian of fashions. After having our three leading men in ruts the solution is unsatisfying and the audience is left there, waiting for an absolution that never comes. It robs the actors of the good work they’ve done so far and robs the many supporting actors giving good performances (Wesley Snipes, Will Paton, Lili Taylor, Jesse Williams, Brian O’Byrne) of any profundity. For a film that does so well in its first half, the film’s finale is done by the book. However, an array of good to excellent performances from the cast members makes this a worthy choice for viewing. Brooklyn’s Finest is not the greatest, but it’s a valiant effort from the production, and a brilliant effort from the actors.

   

B-