Bogey and Kate on The African Queen

Katharine Hepburn and Humphrey Bogart are both talented actors, they’re also legends whose very name suggests to us aptitude and glamour. You’d think that having these two glamorous creatures of Hollywood team up would be something of a noir-like, sensational eye candy of sorts? Well, no. The African Queen features these two glamorous beings at their grimiest. Bogart as a bachelor sea captain and Kate as a spinster, the two travel on sea aboard the eponymous African Queen to do their bit to fight the enemies during the war. What an adventure it is.

It’s no secret, I am smitten with Ms. Hepburn; and though Bogie isn’t my favourite of the era, he’s still exceptional. The African Queen treads that margin between comedy and drama that is often so difficult to do right. Sometimes I see it more as a farce than anything else, but not quite. With just two actors for the majority of the film John Huston has the difficult task of directing this, and of course he does great. He directs it like an action film, and it works, the shots of Africa and the pacing are all excellent. You wouldn’t think two people talking could be so gripping, but it is. Of course, though, it all comes down to the acting. Katie and Humphrey. Naturally, it’s good. Watching these two go at it [and they really do go at it] is a treat. They manage to sell any potential missteps of the plot and even that ending which gets a little too schmaltzy for it’s own good seems fine with them doing the heavy lifting.

                         

It probably would not be untoward to label this a fantasy, for The African Queen is most definitely not a slice of life. But it’s still wonderful, Huston directs it superbly and Kate and Humphrey do what they do best. I remember reading Kate’s account of the experience and how Lauren Baccall came along and they two were in charge of housewifery on set. It’s always great to see two legends coalesce and The African Queen is not exception. It’s #73.

Robin Williams, Jeff Bridges and The Holy Grail

The nineties had their share of comedies – from the usual stuff to the more sophisticated. Much of it was lost in the drivel, some deservedly so. However, one of my favourite comedies from the nineties is an oft forgotten piece, one of my favourites from 1991 and a film featuring the best work Robin Williams and possibly Jeff Bridges have done – as far as I’m concerned anyway – the title in question is The Fisher King. The Fisher King, is the story of a cynical former radio host  Jack[Bridges] who befriends a homeless man  - Parry -[Williams]. It turns out that an indiscretion by Jack has led to the unravelling of Paddy’s life. So at the urging of his girlfriend Anne [Mercedes Rhuel] he makes a move to help Parry find what he feels he needs – the Holy Grail.

                                    

The Fisher King is a comedy that veers dangerously close into the supernatural, but for all its humour it’s also vividly poignant. Robin Williams is known most for his comedic work, though he has excelled in the occasional drama. In The Fisher King he toes the line between both genres. Parry is a funny man, but he is also a broken man and Williams is able to show us the pain and hurt while still making us laugh. Jeff Bridges must play the straight man to Williams and he’s excellent as the cynical Jack I actually can’t say that either is better than the other. However, the highlight of the film comes with Mercedes Ruehl who earned an unlikely Oscar playing Bridges’ girlfriend. Like Whoopi Goldberg immediately before her and Marisa Tomei immediately after she is a huge source of comedy. Like Williams too she also needs to get dramatic and does it well. That is why her performance is a favourite of mine.

The Fisher King has unfortunately become forgotten. I don’t think that Terry Gilliam will ever be able to supersede the comedic yet emotional core of this. This is sort of the film that people see and it makes them feel happy without insulting their intelligence, the script is vibrant, the acting is excellent and it is a completely satisfying film. It’s an underrated gem of the nineties and at #66 on my list of favourites.

Reminder...

...that I've got that LAMB Casting feature over at the other blog. I'm encouraging you all to participate.

Just A Spoonful of…Mary Poppins

Months ago when I listed some of my favourite musical scenes I highlighted an under-loved gem from the underrated 1964 musical Mary Poppins. Mary Poppins is on the obvious levels a comedy about the clashes between Mary and everyone she meets but the [few] emotional juggernauts are what speak to me. When she shakes that snow globe and begins to sing that “lullaby” of sorts “Feed the Birds” represents my favourite moment of the film, as Julie croons and we see Jane Darwell in her last screen performance [a cameo] there’s that sense of contentment and satisfaction; childish but true.

Julie’s performance has become undervalued in recent times, I listed it as one of my favourite Best Actress – it’s a list of nepotism, not of skill – but that shouldn’t make you think that Julie isn’t acting here. It’s a copout to just say that she does all that is asked of her, she does, but it’s not that simple. Julie Andrews has a charm that does not come as easy as she makes it seems. On paper Mary Poppins could be silly, I certainly found to the books to be thus, but Julie Andrews is a star – not in the Elizabeth Taylor sense – but one nevertheless. And it is her star quality that makes Mary Poppins works.

              

She doesn’t work completely on her own though. I never was too enthralled with Dick Van Dyke’s Bert, and I often found myself forwarding through his solo numbers when I was younger, but upon recent viewing it’s not as a annoying as I remembered. Of course, he’s no Julie – but who is? The Banks are played wonderfully by David Tomlinson and especially Glynis John who lends a perceptible comedic timing that should not go unvalued. It is a pity she didn’t do more film work. Then, of course, the Banks children. It’s so simple to write them off, but they [Karen Dotrice and Matthew Garber] lend a perfect sense of bewilderment, astonishment and wonder at seeing Mary’s theatrics, and the two of them along with Dick and Julie make us believe even the most dimensional things seem real.

                            

Mary Poppins is light and fun, you could always try to find some hidden subtext and of course the aged theme of childhood remains true. I find it delightful that it earned a Best Picture nomination, even if some will look back with disdain. Mary Poppins is a wonderful film, and above all else it introduced the world to Maria Von Trapp – the singer. It’s #100.

Musings…On Golden Pond

There is some unwritten rule that says tension must be sustained for any film to be good. I suppose in a rare few instances films are devoid of any acute sense of emotional tension: there’s no worrying whether or not the heroine/hero will get married, if that character will get the job, win the competition. It’s just a series of interesting, and sometimes profound events – On Golden Pond is one of those rare few films.

The plot of On Golden Pond would read thus – an elderly take their usual holiday on a cabin with the son of their daughter’s fiancé in tow. It doesn’t really tell you much, and On Golden Pond isn’t a story about actions as it is a story of people, of people in love. Norman and Ethel Thayer are well on their way into the grace [excuse the morbidity] and they are the perfect – if utopian – example of the couple as much in love at eighty as they were at twenty. Their relationship, one of ease and dependence, is the driving force of the narrative – Henry Fonda and Katharine Hepburn as such as the driving force of the film. The film definitively depends on them, and the ease and trueness of their relationship is clear from the get go. It’s a beautiful thing to watch these two actors – both legends – playing off each other. There is no shouting, no histrionics, no fights and not even any particular showing of tears. What we get instead is sheer simplicity that is just beautiful to observe.

                                      

Jane Fonda plays the daughter of the couple. Critics have somewhat lambasted her for not matching the brilliance of her “parents” but it’s a silly contention. These are acting legends; it’s difficult for anyone to match them. Fonda’s strongest scenes are those she plays opposite Hepburn. I’ve always found Kate to have amazing chemistry with her on-screen women [especially Holliday, Hussey, Houghton] and she brings out the best in Jane. It’s beautiful to watch.Doug McKeon and Dabney Coleman are good, the former gives a formidable child performance though the latter doesn’t get that much to chew, still their nothing to match Hepburn and Fonda [senior].

                               

Rydell did something special with On Golden Pond and in a year of Reds and this, I always sigh a little that Chariots of Fire took home the Oscar, but prizes are just superficial, and On Golden Pond is such a lovely film that lack of them do nothing to mar its beauty. I’m not sure if all will like it as much, but On Golden Pond is an especial piece of cinema. Simple, effortless and exquisite – it’s #59.

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?

The Nineties Revisited: Ep 4

Continuing from Ep 1, Ep 2 and Ep 3 on to The Best Actresses. It was a bit difficult narrowing all the wonderful nineties performances, but here are those that I felt the strongest about. Two were Oscar winners, three were nominated.

So, this is often the category people feel most strongly about, I'd say there are about at least 20 more worthy performances, so what were the five you were really impressed with in the nineties? Which of my five did you not care for?