The Parnassus Times

April 30, 2008

The List is Life: #79

79.

The Dame;

Marcia Gay Harden.

Marcia Gay Harden landed her first major film role in 1990 as the leading lady in the Coen bros. throwback gangster picture, Miller’s Crossing, yet it would not be until another decade passed that her career would be able to really take off. Working through the latter half of the 90s in supporting roles on feature films of varying sizes, it was in 2000 when she appeared alongside such lumanaries as Tommy Lee Jones, Donald Sutherland and James Garner in Clint Eastwood’s box office hit, Space Cowboys and then went on to star alongside Ed Harris in the biopic, Pollock, the film recieved a fair deal of acclaim, but the cherry on top came when Harden walked away with the Academy Award in early 2001. Since then, knowing what she was best suited to, Harden has continued to work steadily in prjects of various sizes and differing types, taking supporting roles in films such as Mona Lisa Smile, Mystic River, American Dreamz, The Dead Girl, Into the Wild, and The Mist. She continues to almost always be among the standouts in the cast, if not stealing movies altogether, though the films are often of differeing qualities, her presence is almost always an assurance of at least some quality.

The Duke;

John Wayne.

The Iowan born son of a pharmacist, few would have predicted that the boy named Marion Morrison would ever have emerged as the towering symbol of masculinity in the 20th century. Yet since his first major role in John Ford’s Stagecoach, the man that came to be known as John Wayne blazed a trail as one of the most iconic stars in the history of the Hollywood horizon, across the next 40 years. Though appearing in projects as varying as The Quiet Man, The Barbarian and the Geisha and The Green Berets, it was of course in the old west that the legend of The Duke was forged. Standing for a brand of rugged, towering heroism, from Stagecoach in 1939 to his final melancholy appearance as a legendary dying gunslinger in 1976’s The Shootist, Wayne stood tall against all comers, never backing down an inch. Yet perhaps his most interesting, daring work came in films like Red River and The Searchers, films in which that heroism was mixed with something far darker, Wayne was never afraid to delve into the dark side, never afraid to display the cracks in his myth. He was a symbol of the kind of man that became eclipsed in the movies at the tail end of the 60s, by the emerging new wave of filmmakers, yet even as Midnight Cowboy (as potent a symbol of the changing face of masculinity as there ever was) walked away with the 1969 Oscar for Best Picture, it was The Duke that landed the Best Actor prize that night, for his turn in True Grit. Even as his era disappeared, John Wayne stood tall.

The Director;

Michael Winterbottom.

Michael Winterbottom is one of the most unique and varied directors of his generation, he made his debut in 1995 with the vivid, bleak Butterfly Kiss and quickly established his kinetic visual sense, and naturalistic style. Though the film failed to reach a wide audience, his follow up, Go Now, made in the same year, reached a much wider audience, including a cinematic release (albeit 3 years later) in the United States. Following that initial breakthrough he has continued to prove himself as one of the most diverse filmmakers working today, from his 1996, Kate Winslet starring adaptation of Thomas Hardy’s Jude the Obscure, to his filmed on location, powerful journalistic drama, Welcome to Sarajevo, his 2002 double header with the dramatic-comic chronicling of the Manchester music scene in the early 80s, 24 Hour Party People, and brutally real refugee smuggling drama In This World, the artistic-pornography of Nine Songs, avant-garde comedic stylings of A Cock and Bull Story or the much talked about tale of perseverance, love and humanity, A Mighty Heart. Michael Winterbottom has been all over the world, in all genres, from the perfectly normal to the entirely surreal, he is one of a kind, an ambitious artist, and one who shows no signs of watering down or selling out, no matter how much acclaim and attention he may recieve.

The Picture;

Chinatown (Roman Polanski, 1974)

In the 1940s, Film noir dominated the Hollywood scene, hard bitten detectives, skulking in the shadows, dark and shady businessmen causing nothing but trouble and women all around, you were never quite sure you could trust. As the television rose to prominence, Hollywod was forced to step up, to become far more grand and epic than it had even been before, and thus those small scale pictures faded away. Yet in 1974, up and coming producer Robert Evans, emerging new-wave writer Robert Towne, and director Roman Polanski, the master chronicler of twisted cinematic horror, combined, and along with the fast rising star Jack Nicholson, put together a neo-noir tale that not only resurrected the genre, but took it to a level that it had never been before. Prior to his first icon-making Oscar win for One Flew Over the Cuckoo’s Nest, Nicholson is on restrained form, caressing every line of Towne’s perfectly crafted screenplay, that now famous grin is nowhere to be seen, as the knowing glint in his eye and the sardonic delivery draw us in and attach us to his quiet charisma, taking us into that dark world in which he delves. Polanski’s control over the whole thing shouldn’t come as a surprise to anyone that has seen the great man at his best, but this was in an arena he had never entered in to. He holds a very calm, still and simple view on everything that goes on, allowing that story to unfold naturally, leaving the work to his cast and that screenplay, and what a screenplay it is. Composed with delicate nuance, Robert Towne’s words do very little by themselves, but as the big picture begins to come together, the little moments, the seemingly throwaway lines, the tiny details one may consider unimportant all begin to make perfect sense. From head to toe, Chinatown is a perfectly put together piece of work, a towering beacon of its genre, one of the greatest of its era.

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April 17, 2008

The List is Life: #80

80.

The Dame;

Marcia Cross.

Acting since her early 20s, Marcia Cross spent the first decade of her career working mainly bit parts on television before establishing herself on Melrose Place in 1992. After 5 years on the show she departed and returned back to the point she had been at before, appearing on such shows as Seinfeld, Spin City, Ally McBeal and King of Queens, before in 2004 she landed the role that put her on the map in a whole new way. For her role in Desperate Housewives, Cross has garnered Emmy, Golden Globe and Screen Actors Guild nominations. Though often overlooked in favour of her more  actorly, kookier or aestherically pleasing co-stars, Cross has proved from the very start that she is on a different planet all together. Balancing the comedic and the dramatic in perfect equilibrium, she stole the shows first season out from under the noses of everybody around her, with her pitch perfect delivery of every line and the extreme emotive powers of those enchanting eyes. For 20 years she paid her dues, and finally she’s making it count, embedding her Bree Van de Kamp upon the minds of all that bear witness to her.

The Dude;

James Gandolfini.

James Gandolfini began acting in his late 20s, his first screen role coming in 1987. The first decade of his screen career seemed to be generally built around his look, he spent most of his time playing heavies in films like True Romance and Get Shorty. His most substantial film roles both came in 2001 with supporting work in The Mexican in which he straight up stole the whole show from the two A-list superstars at the films heart with his heartfelt turn as a gay hitman. That same year he also worked with the Coen brothers in The Man Who Wasn’t There, for the first time playing a man more concerned with business than brawling and played the character with a slightly lecherous, but whole heartedly enthusiastic vigour. Yet there is no denying that what he is most known for is as the head of one of the most popular television shows in history. As Tony Soprano, Gandolfini rocked audiences as he took the character from one level to the next, charming, loving, amiable, astute, amoral, vicous, conniving. He was the loving father, the ruthless businessman, the venomous gangster and the troubled middle aged man. Serving as a figure of identification for working men everywhere, Gandolfini managed to portray both the human that we all know, and the monster that we are enraptured by, both with absolute sincerity. Over the shows 8 year run he embedded that into the publics conscience, where it will never be forgotten. He was an everyman, but he was something more, and thats what made him unforgettable.

The Director;

Arthur Penn.

After establishing himself in the 1950s as a television director, Arthur Penn moved into movies with The Left Handed Gun, an adaptation of Gore Vidal’s play, a Billy the Kid picture starring Paul Newman, portraying the notorious outlaw as the  emotionally troubled youth that he was. 4 years later came the adapting of another play, William Gibson’s The Miracle Worker, chronicling teacher Anne Sullivan’s relationship with Helen Keller. The film was, as its tagline stated “An emotional earthquake”, it landed Academy Awards for both it’s leading ladies, Anne Bancroft and Patty Duke. After this great success he took a 180 degree turn in taking the helm of the surreal, nouvelle-vague influenced Mickey One, a darkly atmospheric, dream-like tale of paranoia. The next year he got topical with The Chase, a state of the nation piece, dealing with the issues of violence, racism and corruption, running through American society. However it was the next year that he put his name on the map once and for all, with Bonnie & Clyde, as with his last two pictures this was influenced once more by the French new wave and more than anything dealt with the countries disenchanted youth. Set during the depression of the 30s but dealing with the issues of the counterculture age that was sweeping the nation. Bonnie & Clyde was the sparkplug that set off the reformation of American cinema and it was Arthur Penn, his European influences reinvigorating American film and with a finger on the pulse of the nation, concerned with its problems and with giving a voice to its youth, that stood of the forefront of that movement and solidified his place in history.

The Picture;

Rocky (John G. Avildsen, 1976)

If there is one word to describe this film, it’s American, if there is another, it’s fairytale. Rocky is an American fable, and in a decade that had been almost entirely dominated by a new kind of cynicism and bitter venom flowing through the veins of American cinema, it’s coming on the 200 year anniversary of its nations independence was a breath of fresh air. At its heart it is nothing more than a male take on the Cinderella story; of a down on his luck nobody, mixed up with the wrong people, and his one shot at something grander. It is a portrayal of that much talked of American dream, of a mans determination to make it, and the lengths he goes to and the obstacles that he overcomes to get to where he needs to be. Rocky is a character very much of his time, a symbol of the changing world, hulking yet simple and uncertain of his place in the world. Sylvester Stallone creates an icon in the centre of it all, quiet and good at heart, but capable of brutality when need be, a man seemingly at peace with his place in the world yet always dreaming of something more. Not only does Stallone create a beautifully simplistic character on screen (displaying thespian abilities, that make one mourn what could have been, had Hollywood superstardom not come calling), but as writer of the film he brings the working class neighbourhood vividly and romantically to life. In this film (marred somewhat by its sequels) the message is straightforward and simple as it’s titular character; a man with little in the way of prospects yearns to prove himself, a man looked down on by all those around him, seeks to show just what he’s made of, to all the world, on the grandest stage of them all. Winning is never his aim, it’s all in the name of pride.

April 15, 2008

The List is Life: #81

81.

The Dame;

Carmen Maura.

Born into a family of conservative lawyers, the great-neice of Antonio Maura a five time prime minister of Spain, Carmen Maura began as was expected of her, studying philosophy and literature in Paris before marrying a lawyer and giving birth to her two children. She began life in show business as a cabaret singer before in 1970 (the same year as her divorce) making her movie debut and quickly establishing herself as a capable dramatic actress, but most noted for her work in comedy. In 1978 she collaborated with emerging director Pedro Almodovar on what would be the first of 7 films they would make in the next decade, culminating in 1988 with Mujeres al borde de un ataque de nervios for which she won her first Goya award. Soon after her partnership with Almodovar seemed to deteriorate, yet she continued to work regularly through the 90s, winning the Goya again, in 1991 and then a record breaking third for her role in 2001’s La Comunidad, before she reteamed with Almodovar for the first time in 18 years for 2006’s Volver. The film was a global success, and launched her right back into to spotlight of World cinema, and for her role, she won her 4th Goya, establishing herself beyond all doubt as a legend of European cinema.

The Dude;

Robert Duvall.

The son of a Navy Admiral, Robert Duvall moved around a lot as a young man from Maryland to Missouri, before graduating college in Illinois, following a year’s service in the army he studied acting in New York under Sanford Meisner. His screen debut came as the iconic Arthur ‘Boo’ Radley in the film adaptation of Harper Lee’s To Kill a Mockingbird, his work through the rest of the 60s consisted mainly of TV work before in the final years of the decade landing small supporting roles in films like Bullitt, True Grit and MASH. In 1972 at the age of 41 his breakthrough finally came as he landed the role of Tom Hagen in The Godfather, he landed his first Oscar nomination and went on to reprise the role in the sequel two years later. Further work in the fine ensemble of Network followed, before he landed the role he is most famous for, as Lnt. Col. Kilgore in Apocalypse Now he gave the picture it’s most famous lines and most famous sequences and was in turn nominated for his second Oscar. He went onto finally win the award 4 years later as a troubled country singer trying to put his life back together in Tender Mercies. Though he has worked consistently since, there were two great roles left for Duvall, in 1997 he made his directorial debut, with The Apostle, he also starred in the film as a preacher trying to escape a troubled past. However it was some 8 years earlier, in the television mini series Lonesome Dove, adapted from the novel by Larry McMurtry that he played what he claims was his favourite role, winning a Golden Globe and landing an Emmy nomination, he turned in some of the finest work of his career. Duvall has always been at his best playing flawed characters, men with darkness in their past, but men who at heart are good, always striving to atone. He took longer than many to get to the top, but when he got there he made it count.

The Director;

Vittorio De Sica.

Born into poverty in 1902, Vittorio De Sica began working as a theatre actor in the early 20s before in 1933 establishing his own theatre company where he produced mostly comedies, working at times with future neorealist peers like Luchino Visconti. He began acting on screen in his 20s and continued to do so regularly until the end of his life, his career behind the camera did not begin until 1940, and he quickly established himself as a leading figure of the neorealist movement. Turning out works such as Sciuscia, a chronicling of the lives of young impoverished shoeshine children near Rome. 1952’s Umberto D told the heartbreaking tale of a retired civil servant on a seemingly endless downward spiral and 1960’s La Ciociara, the film which won Sophia Loren her Oscar, detailing a young mother fleeing with her daughter from the bombing attacks on Rome in the Second World War. However De Sica is most widely remembered for the film that to this day stands as the cornerstone of Neorealist cinema, Ladri di Biciclette. A man just trying to find work, just trying to feed his family, and the hardships that life throws in his way, and the way in which he copes with them; the film is an immense tragedy that blazes the struggle of life in that era upon the brains of all who view it. 60 years down the line, it remains as powerful as ever, De Sica worked with non professional actors, and yet drew the absolute most out of them, capturing perfect heartbreaking naturalism on screen every time.

The Picture;

The Apartment (Billy Wilder, 1960)

Billy Wilder may be best remembered for the laugh out loud, riotous comedy of 1959’s Some Like it Hot, but it was the following years Best Picture winning The Apartment that proved his abilities to perfectly blend the tragic, the romantic and the funny sides of life. Jack Lemmon turns in one of his finest screen performances, twitchy, nervy, retiring, a walkover who’s willing to do whatever he has to do to get ahead; he pulls the audience on side in the opening moments and keeps them clutched there all the way through his struggles. There is fine supporting work from Jack Kruschen and Fred MacMurray, however it is Shirley Maclaine that waltzes away with the show. Aged just 26, Maclaine’s Fran Kubelik appears both steely strong, and adorably sweet; able to stand up to any man, but tender and breakable underneath. The character is a complex web of emotions, and through Maclaine it all flows naturally as a river. Off screen, Billy Wilder and longtime writing partner I.A.L Diamond are on the form of their lives, mixing the comedic and the dramatic, they meld their characters together to a tell a story that without being remotely cheesy, manages to be one of the most beautifully romantic ever made.

April 13, 2008

The List is Life: #82

82.

The Dame;

Anjelica Huston.

Anjelica Huston is Hollywood royalty, so it may seem strange to some that she never really broke into movies until her mid 30s when she was cast in her father’s Prizzi’s Honour, and subsequently won an Oscar for the role. It was not a debut, she had been working in the business since her first appearance (doubling as Deborah Kerr’s hands in the spoof version of Casino Royale) in 1967, but it was her first major role, and when she won that award that so many strive for, for so long, one wonders why she had not begun sooner. Since then, Huston has established herself as one of the great supporting actresses of her generation, equally adept at comedy and drama, in the widest variety of roles playing everything from ghastly witches to nuns. The only shared trait in her work seems to be that of strength, an attribute of the Huston family going back to the time of her grandfather Walter, a pioneering actor of the sound era, a strength that has not flinched one bit as the Huston families legacy has been carried forward in the hands of a woman. Having, since the turn of the century, become almost a muse of director Wes Anderson, playing small but important, revered and iconified roles in his films, she has proven beyond all doubt her status as a legend of the game, one that has continued to build her families legacy onwards and upwards and one who shall be remembered for years to come as one of the best of her era, entirely worthy of her name.

The Dude;

Heath Ledger.

Gone so suddenly and so early, more than certainly on the cusp of the A-list status he had been approaching for so long, it has become popular to speak of Heath Ledger in grand terms. What can certainly be said, was that in 2005 he gave what is almost unquestionably one of the finest screen performances in history. In Brokeback Mountain he worked in complete contrast to Jake Gyllenhaal’s wild angst, and in doing so painted a perfectly captured study of repression. Entirely internalised, his performance was a physical one, sealed lips, through which hardly a word escapes and when it does, is difficult to decipher, hunched shoulders, hanging head, barely able to make eye contact, a curled fist, a microcosm of his character. His work is one for the screen, the sort of performance that would be useless on the stage. Though in his short career prior to this he never showed anything like the abilities he did in earning that solitary Oscar nomination, there was wonderful promise from the very start. In his screen debut in the high school comedy 10 Things I Hate About You, his performance mixed the macho and mean with the tender and the caring, his eyes saying as much as his words, in Terry Gilliam’s flawed Brothers Grimm, he displayed the internalisation he perfected in Brokeback Mountain. While Matt Damon mugged and overemoted his way through the movie, Ledger’s performance was again a physical one, told more through movement, through the face, than via words. This restraint was displayed through most of his work, in the Australian drugs drama Candy, he starred alongside side Abbie Cornish, and again, contrasted her theatrics, with nuance, and quiet, internal pain; just as he had done 5 years earlier as the emotionally tormented son in Monster’s Ball, a performance that could easily have given in to hysterics, but in the hands of a quickly learning, quickly maturing actor, was held back and made far more interesting. He seemed wise beyond his years on the screen, learning quickly and turning early promise into something more potent, it is a very great shame, that he will never have the chance to show again, just what he was really capable of.

The Director;

Cecil B. DeMille.

Along with D.W. Griffith and Buster Keaton, Cecil B. DeMille was one of the great American trailblazers in the cinematic arena. While both his peers were certainly knew a thing or two about spectacle, during the first few decades of the industries existence, there was nobody anywhere in the world that milked the awe, wonder and possibilities out of the medium in the same way that DeMille did. In the beginning when shackled by silence and black and white images, there was still no denying his epic intentions, his 1923 version of The Ten Commandments, 1927’s King of Kings, and into the sound era with his Claudette Colbert starring version of Cleopatra. DeMille understood that there was nothing in the world capable of achieving cinema’s grandiosity and as technicolour set in he took it a step further, Samson and Delilah, The Greatest Show on Earth and that final, mightiest of swan songs, his second version of The Ten Commandments. He died in 1959 of heart failure, it was during that preceding decade that cinema had come under fire from the popularization of the television, the little box that diluted the power of the silver screen, and flew in the face of all that had men like DeMille had established. That his departing and it’s rise came in the same 10 year span can easily be seen as a turning of the tide, but cinema has endured, and every epic that has come since has owed a debt to him in one way or another.

The Picture;

The General (Buster Keaton, 1927)

Buster Keaton began directing films in 1917 at the age of 22, it wasn’t until some 5 years later with Our Hospitality that he really came to the fore as a filmmaker. He enjoyed a successful run for the next few years, turning out films like Sherlock Jr. and The Navigator, before in 1927, after 10 years as a director, he created The General. An adaptation of Congressman William Pittenger’s memoir, The Great Locomotive Chase; the film was a box office failure upon initial release, but over time has gained its deserved status as a classic. It is at once both riotously funny and sweetly romantic, Keaton may not have had the ability to touch the human heart with quite the intensity of Chaplin, but he was a master technician and innovator of his craft. Looking back at The General, some 80 years after it’s release, some of the magic on display is bewildering to behold; coming one after the other, Keaton strings together setpieces that not only make you laugh but have you with jaw agape, wondering just how he did it. This film was made some 50 odd years before computer effects came into play, Keaton did everything himself, and it left his crown jewel with not only laughs, not only heart, but awe inducing spectacle.

April 11, 2008

The List is Life: #83

83.

The Dame;

Julie Christie.

Making her debut in John Schlesinger’s Billy Liar at the age of 22, Julie Christie ushered in the swinging sixties, landing a BAFTA nomination she announced herself on the national stage, before two years later reteaming with Schlesinger once more in the central role, she won an Oscar for Darling. At 24, the grandest prize in the profession in her grasp, Julie Christie played a second role that same year, and though it was the other that built her reputation, it was David Lean’s Doctor Zhivago that made her an icon. Proving diversity was in her grasp she displayed her range over the next decade, refusing to settle into comfortable roles, she starred in Francois Truffaut’s adaptation of Ray Bradbury’s Fahrenheit 451, alongside her much celebrated other half in Robert Altman’s lyrical western in McCabe & Mrs. Miller and with Donald Sutherland, in Nicholas Roeg’s grim, horror masterpiece Don’t Look Now. As time went by and her relationship with Warren Beatty grew, her interest in acting seem to dim, though working relatively consistently for the next few decades she turned down numerous major roles that had been major steps for other actresses from They Shoot Horses Don’t They? to Reds, moving back to the UK in the early 80s after her split from Beatty, she began campaigning for animal rights, nuclear disarmament, and numerous other causes. Eventaully in the mid 90s she began a career renaissance, first landing the role of Gertude in Kenneth Branagh’s Hamlet before going onto further supporting work and Oscar nominations for her beautifully subtle work in Afterglow and Away from Her. Though she may have priorities in other arenas, Julie Christie certainly makes it count whenever she steps on screen.

The Dude;

Gary Oldman.

Not a performer given to nuanced and subtle work, Gary Oldman is an actor that came from the stage and has never forgotten it. An artist that paints in loud, broad brushstrokes he still strives for the farthest row in the theatre whenever he appears on screen and he nails it out of the park basically every single time. Though loud and brash might be his game, there really isn’t anybody better at it, when Gary Oldman is on the screen, you can rarely tear your eyes away. Those screams, those pulsating veins, those glorious tics and twitches, and the absolute brutally perfect way he delivers every single line has been in evidence from his screen debut as Sid Vicious in the romanticized biopic Sid & Nancy, to his vicious, obsessive sports thug in The Firm to his ‘graduation’ across the atlantic, where ever since the turn of the 90s he has been blazing his way through Hollywood. There was Lee Harvey Oswald, Count Dracula, he hammed it up but was never dull in Leon, The Fifth Element, Air Force One and Lost in Space. He brought his blazing intensity to a role it fit like a glove playing Beethoven in the otherwise ordinary Immortal Beloved, and as the century turned he found himself reaching a whole new generation in as kindly a role as he had every tried his hand at, playing Sirius Black in the Harry Potter films, a role that shall ensure if, for whatever bizarre reason all else fails, Gary Oldman, will never be forgotten.

The Director;

Robert Bresson.

In a 50 year career, Robert Bresson only turned out 13 feature films. A testament to his intrinsic and minutely detailed approach to his work, and to his refusal to bow to commercial restrictions, spending a great deal of his time struggling to find funding for his projects. Following early desires to take up a career in painting, Bresson found his way to photography before directing his first short film in 1934 before spending over a year in a POW camp during the second world war. This time in captivity along with his aspirations as a painter and Catholic upbringing, had a very great impact on his work. Catholicism in particular was reflected in the redemption, salvation, and exploration of human soul that permeated throughout his work. Termed the patron saint of cinema, a term that was not without merit, Bresson strove to define a new cinematic language entirely different from all other artistic mediums. Requiring numerous takes from his actors till all mannerisms and tics of the performer were stripped away and the raw naturalism that only cinema could find was all that remained. He argued for cinematography, how he sought to find it elevated above merely what was essentially the filming of a play to create a new language out of imagery and sound. Though his films were often seen as critques of French society and the wide world beyond, Robert Bresson was never less than an optimist when it came to the artistic possibilities of the cinematic medium.

The Picture;

The Aviator (Martin Scorsese, 2004)

Too often simplistically dismissed as Martin Scorsese turning to old Hollywood glitz and glamour to land an Oscar, The Aviator is a flawed but fascinating epic of one trailblazer of a man overcoming the numerous seemingly insurmountable obstacles in his path only to be constantly plagued and felled by the demons within. In the central role, Leonardo DiCaprio plays Howard Hughes and graduates into adult roles with tremendous aplomb. Aging 20 years over the course of the film, DiCaprio begins the earnest, bright eyed boy that everybody knows, and slowly transforms into a gruff, stilted middle aged man, physically crushed by his exploits but still emerging triumphant. Howard Hughes was a groundbreaker, a 20th century pioneer, and Scorsese charts that innovation in the way that only cinema can, visually. Robert Richardson’s Oscar winning cinematography telling a visual story, entirely through images, charting the cinematic technology of the age, evolving as the years pass from the old two strip colour process to three strip saturated technicolour. Dante Ferretti’s production design compliments Richardsons work perfectly to add to the visual narrative, beginning with the giant, seemingly neverending expanse of youthful idealism and slowly closing in, trapping the titular Aviator in his own personal prison. Though the film is brighter and brimming with more glitz seen in any Scorsese picture this side of 1977’s New York, New York it is still unmistakeably his, a dark, troubled heart laying at its centre. Innovative and pioneering work, reigned in by humanity.

April 9, 2008

The List is Life: #84

84.

The Dame;

Emmanuelle Beart.

Emmanuelle Beart came to the worlds attention in 1986 when she played the title role in Claude Berri’s sequel to his own Jean de Florette, Manon de Sources. Aged just 23, the French film industry bestowed upon her the Cesar award for Best Supporting Actress, with what was her third nomination. Though going on to pick up 5 more Cesar nominations, for Jacques Rivette’s grand 4 hour marvel La Belle Noiseusse and perhaps most notably to western audiences opposite Michel Serrault in the intimate Nelly & Monsieur Arnaud. The following year she made up part of the ensemble in her only journey to date into English language films, opposite Tom Cruise in Brian DePalma’s Mission: Impossible and a few years later, made up part of a mighty gallic ensemble as one of Francois Ozon’s 8 Femmes. Though mightily established as a more than accomplished actress, Beart’s finest achievement may well be when in 2003, aged 40, she appeared nude on the cover of Elle magazine, the issue is to date, the biggest selling in the magazine’s history. Proof, if any were needed, that the great queens of the cinema, tower over all else when it comes to glamour, charm, grace and popularity.

The Dude;

Ray Winstone.

Landing the lead role in Alan Clarke’s Scum at the age of 20, Ray Winstone could have risen to stardom at a very young age, yet marred by constroversy, Scum’s planned broadcast on the BBC was withdrawn and the television story was entirely refilmed for the cinema and finally released 2 years later in 1979, but the road that Ray Winstone’s career would travel down was set. Throughout the 80s his career never really got off the small screen, his most notable role probably as Will Scarlet in the television production, Robin of Sherwood. Into the 90s and his career still seemed forged by TV work before in 1997 he landed the lead as the dark, troubled, vicious father in Gary Oldman’s semi-autobiographical domestic drama Nil by Mouth, landing a BAFTA nomination and British Independent Film award, the boy from Hackney’s star began to rise, and two years later as he again took the dark father role in another british actor-turned-director drama Tim Roth’s The War Zone. Further British Independent and European Film Award nominations further established himself as one of the most powerful talents in the nation. It would be 4 more years before his star would rise further though, first taking on the lead role in another British TV production of Henry VIII and then going onto star as part of a glittering ensemble as the subtly venemous Teague in Anthony Minghella’s Cold Mountain, over the next few years, further show stealing roles in King Arthur and The Proposition followed, a lead in his own big budget movie soon followed in the (albeit motion captured) epic Beowulf. Though perhaps most impressively of all are a pair of supporting roles in 2006 alongsie Jack Nicholson in Martin Scorsese’s Oscar winning The Departed and in the summer of 2008 alongside in Harrison Ford as Steven Spielberg brings Indiana Jones back to the screen. Now 50, Ray Winstone has established himself as major film actor, the premier British hard man on screen, and most impressively of all, in an age of Brits abandoning home for Hollywood as soon as the chance presents itself, he’s one who never forgets where he came from.

The Director;

Wong Kar-Wai.

One of the most visually unique and highly stylized film directors in the whole history of the business, it would be no surprise to anyone to learn that Wong Kar-Wai is a graphic design graduate. He began working in film in his late 20s as a screenwriter turning out about 10 screenplays over the next 5 years befoire in 1988 turning to direction with Wong gok ka Moon (As Tears Go By) a virtual reworking of Martin Scorsese’s Mean Streets starring Andy Lau and longtime collaborator Maggie Cheung. Already putting on display the vivid color palette he would become known for and landing what is to date, his only box office hit. 3 years later A Fei Zheng Chuan (Days of Being Wild) set his style in stone, a beautifully wonderous mood piece filled with luscious visuals and music. In the decade and a half since he has gone on to establish himself as one of the most respected filmmakers in the world and with 2007’s My Blueberry Nights, stepped into the west, directing his first English language film. The six films he turned out between these two, including the Palme D’Or winning Chun Gwong Cha Sit (Happy Together) are the hallmarks of one of the great auteurs in modern cinema, with his two closest stars Tony Leung and Maggie Cheung helping to blaze that trail, he is a filmmaker that shall surely continue to unleash his unique blend of hypnotic cinema upon adoring arthouse audiences worldwide, ensuring that one of the great visual artists of the era, won’t soon be forgotten.

The Picture;

Mononoke-Hime (Hayao Miyazaki, 1997)

Hayao Miyazaki is a filmmaker that from the beginning of his career, has shown a great deal of love and respect for the natural world, never was that passionate feeling more on display than in his 1997 fantasy-adventure, Mononoke-Hime (Princess Mononoke). Epic in scope, grand in ambition, it is a film that deals with the struggles of humanity, the struggles of the natural world, of animals far grander than humans can comprehend and of the mighty Gods that loom over all. At the heart of all this monumental majesty there lies humble humanity, this is the story of a young man in search for a cure for a deadly disease, and how on that journey he stumbles upon a war between man and nature, though the films conclusion does end up a little preachy, the wondrous imagination of the ride that comes before, makes it all worth it. Filled with vivid characters, glorious set pieces, large scale action, small scale action and plain and beautiful magic, it is the sort of film that feeds the sense of awe of the very young but more than delves into the sort of old school, mythic storytelling that can more than entertain people of all ages. Unquestionably one of the finest achievements in all of animated cinema, this is a film that also ranks up with the greatest of fantasy-adventure movies ever made.

April 8, 2008

The List is Life: #85

85.

The Dame;

Ava Gardner.

Though so widely reknowned for her looks, over the 18 years that she was at the top of her game, Ava Gardner took huge steps as a performer. Making her name as the deadly femme fatale, alongside Burt Lancaster in The Killers, the first of a number of Hemingway adaptations in which she starred, Gardner displayed the sultry beauty she has become iconic for, over the next few years she took in incredibly varying projects, comedy, drama, musical, adventure, film-noir, romance, she worked with major directors and major performers but all the while she was called on for little else than her looks. However, in 1953, under the employ of John Ford she played the wisecracking, emotionally fragile Honey Bear Kelly in Mogambo and scored herself an Oscar nomination. Her reputation as an actress on the increase, Gardner’s star continued to rise, having reached a level of credibility where now she was able to take lead roles in her own right as opposed to simply leading lady roles as she did in George Cukor’s Bhowani Junction. Probably her finest moment as an actor came almost a decade later when she starred alongside Richard Burton in John Huston’s Tennessee William’s adaptation, The Night of the Iguana, matching Burton blow for blow at the very least, she waltzed away with the entire film landing numerous awards nominations including BAFTA and Golden Globes. Though she continued to work regularly for the next 20 years, that was her last great statement as an actress, thereafter her work was, as she put it “for the loot”. The career that had come before was never tarnished, and the status as an icon of her era remains; in an era of skinny blondes, she was unique.

The Dude;

Tony Leung.

Abandoned by his father at the age of eight, the young and mischievous Tony Leung quickly transformed into a quiet, restrained child. Raised, along with his younger sister, by his mother who worked to put him through private school before financial difficulties forced him to pull out at the age of 15, he worked odd jobs before a meeting with fellow Hong Kong star Stephen Chow, influenced him to take up a career on screen. Beginning as the host of childrens television shows before in 1989 his role as a deaf mute in the Venice Film Festival winning Beiqing Chengshi (A City of Sadness) helped catapult him into the public eye, 3 years later starring alongside Chow Yun Fat he cut a blazing trail in John Woo’s Lat sau san taam (Hard Boiled) soon after he established a long standing working relationship with Wong Kar-Wai, with whom he had first worked in 1991s A Fei zhang chuan (Days of Being Wild), they went on to work together on 5 more occasions, helping each other establish their status as being amongst the finest actors and directors in Chinese cinema. That quiet child of the 1970s, repressed in the wake of his patriarchal abandonment had found a new way of communicating with people, through the close hug of the camera, and those eyes that speak a thousand words.

The Director;

Leni Riefenstahl.

Born into a working class neighbourhood in Berlin, Leni Riefenstahl began life as an interpretive dancer, before a knee injury during a performance called a premature end to her career; soon thereafter upon viewing a nature documantary she became fascinated by the emerging cinematic medium and its possibilities, she soon emerged in her native land as a popular actress of the silent era before being offered the chance to direct in the early 1930s, and in 1932 her debut feature Das Blaue Licht (The Blue Light) was released, during the filming of the movie, she read the autobiography Mein Kampf and as she told the Daily Express newspaper in 1934 “I became a confirmed National Socialist after reading the first page” that same year she attended a rally where she heard Adolf Hitler speak for the first time, she was mesmerized by his abilities as a public speaker, he in turn had greatly admired her debut directorial effort and employed her to film Der Sieg des Glaubens (Victory of Faith) an overview of the 1933 Nazi rally at Nuremberg. Though for political reasons the film was a failure, Hitler was impressed with her work and recalled her for the Nuremberg rally the following year, her subsequent Triumph des Willens (Triumph of the Will) stands to this day as one of the finest, most influential achievements in technique in all of cinema, documentary or otherwise. Pioneering cinematic techniques such as the use of tracking rails to achieve moving shots,  distortion of perspective via the use of telephoto lenses and aeriel photography she established herself as one of the great cinematic innovators. Two years later her chronicling of the ’36 Olympic games in Berlin (for which she had qualified to participate in cross-country skiing but withdrew to document) went on to champion the use of smash-cut editing techniques, extreme close-ups, tilted camera angles, the footage went on to make the two part documentary Olympia, the first filmed document of the Olympic games. Following this she began work on Tiefland, a feature film adaptation of Hitler’s favourite opera, though filming began in 1940 it was not completed for 4 years and the editing was not finished until after the end of the war at the completion of which Riefenstahl spent 4 years in a French detention camp, the film finally saw the light of day in 1954. This artistic struggle was emblematic of the rest of her career, though she lived till the age of 101 Riefenstahl would only complete on more film, in the 70s she lied about her age,  at 72, claiming to be 52 in order to gain certification for scuba-diving and after taking up underwater photography she worked on what eventually became Impressionen unter Wasser (Underwater Impressions), an up close look at life under the ocean, and was finally released in August of 2002 on her 100th birthday. She died a year a year later at the age of 101, a figure of artistic impression who had once served a pioneer for her entire medium.

The Picture;

12 Angry Men (Sidney Lumet, 1957)

In 2007, Sidney Lumet at the age of 83, directed Before the Devil Knows You’re Dead, a vicious, breakneck sickening fable with a fractured narrative and everything from performance to score amped up to monstrous levels. 50 years earlier, the Philadelphia native had  made his debut with this simple work of extreme emotional power a final triumph for minimalist cinema in an age quickly becoming dominated by widescreen and technicolour following the advent of television. Headed by Henry Fonda in as gentlemanly and dignified  a role as ever,  and Lee J. Cobb unleashing the fiery passion he was so famed for; the film stretched far beyond the restrained confines of its courthouse setting and seemingly simplistic murder case and delved deeper into the heart of humanity. Taking in the good and the bad, the patience and intolerance, love and hatred and all their many complications. Nowhere in sight is there a special effect, no over the top production design, garish costuming or blaring score, it’s 12 men sat at a table, and yet adapted by Reginald Rose from his own play, with an eager young filmmaker at the helm and legends of the game in front of the camera, it encompasses more than most can manage.

April 7, 2008

The List is Life: #86

86.

The Dame;

Julie Walters.

Julie Walters first came to the attention of screen audiences in 1983 when she starred alongside Michael Caine in the film adaptation of Willy Russell’s Educating Rita, she landed a BAFTA win and scored an Oscar nomination with her first major film role. Always remaining true to her roots, she never really sold her soul to Hollywood, continuing to do most of her work on British TV throughout the 80s, continuing to establish herself as one of the brightest comiediennes of her generation. Her work in the 90s consisted mainly of TV movies before at the turn of the century she landed an immense career relaunching role in Stephen Daldry’s Billy Elliott, her immense warmth, and earthly generosity, brightening up the bleak landscapes of northern England. The following year she landed the role of Molly Weasley in the Harry Potter films and a level of fame she had never experienced came her way, her newfound status helped to keep her working consistently in film on projects such as Calender Girls, Wah-Wah, Becoming Jane and Mamma Mia! her newfound status as a connoisseur of bright, middle aged supporting roles ensuring she should be working on screen for a long time to come.

The Dude;

Johnny Depp.

Performing on screen since his early 20s, Johnny Depp is a performer that for the majority of his career to date refused to cash in on the pretty boy looks that made him so popular, instead choosing to work in quirkier, more unconventional roles. Films such as Edward Scissorhands, Benny & Joon, Dead Man and Fear and Loathing in Las Vegas. Perhaps towering above all, his performance as the titular character in frequent collaborator Tim Burton’s Ed Wood was a masterclass in naivity, in heartfelt passion, in unwavering determination, it is, quite simply, one of the better performances of recent times. In recent years he has taken a turn towards the more mainstream roles that have made him a worldwide icon, perhaps now as a parent, feeling a greater need to entertain the planet’s youth, he has still managed to turn in at least one magnificent performance, as the nothing less than legendary Captain Jack Sparrow in Disney’s Pirates of the Caribbean trilogy, Depp has entirely realigned the common image of the pirate, rewriting a once savage, macho persona with something far more akin to a glam rock star. If for nothing else (and it would be a shame if a decade’s great work were overlooked) Depp has ensure he will be forever stamped upon cinema legend for making that inspired choice and redefining piratehood for all. Always most impressive in these quirky roles, it would be alot better for everyone if he could continue to find those parts that stretch him as a performer and allow him to make those choices, instead of allowing him to settle into the middle aged laziness that is far below his capabilities.

The Director;

Luchino Visconti.

Born into one of Northern Italy’s richest families, that Luchino Visconti went on to become one of the founding fathers of the Italian neo-realism movement is something of a surprise. When one learns that he was a supporter of the Italian communist party, that he was not entirely content with his position in life becomes far more apparent. Starting in the business in the mid 30s as assistant director to Jean Renoir before meeting Roberto Rossellini, together the two joined with Benito Mussolini’s son Vittorio, the national arbitrator for cinema and the arts and from there his own career took off, making his debut in 1943 with Ossessione, an adaptation of James M. Cain’s The Postman Always Rings Twice, he continued to delve in the neo-realist genre that he had helped establish, his premier work came four years later with La Terra Trema a chronicle of the difficult lives of the inhabitants of a Sicilian Fishing village. Starting with his 1954 film Senso, Visconti began to shift away from neorealism, as he drifted into the 60s, Visconti’s films began to come more personal in nature, his 1963 Burt Lancaster Il Gattopardo (The Leopard) probably his best remembered film detaling the decline of the Sicilian aristocracy from which the director himself had emerged. Visconti continued working right up until the year of his death in 1976, and though the neorealism that he is still best remembered for was long gone, he was still making a point, right until the end.

The Picture;

Pinocchio (Hamilton Luske & Ben Sharpsteen, 1940)

The puppet Pinocchio first appeared in an 1883 childrens novel The Adventures of Pinocchio by Carlo Collodi, however there can be no doubt that the most iconic version of the story (as with so many of their animated adaptations) is the one that Walt Disney turned out in 1940. The story of a wooden boy, filled with more life and heart than most human filled stories. Pinocchio features a naive yet loveable lead character who in the immortal Jiminy Cricket has one of the great screen sidekicks in history. The loving family (make that father and 2 pets) that he leaves behind are as caring and memorable a group as Disney have ever come up with, and the film is populated from head to toe with supporting players each as vividly memorable as the last. Though now almost 70 years old and a Disney family classic, the film is also shot through with an incredibly dark streak, nasty supporting characters, a monstrous whale and one of the most horrific scenes ever to feature in a children’s movie that will certainly ensure you never look at a donkey the same way again. It’s a magical film, filled to the brim with what at times seems like an almost infinite darkness, but shining through it all, that little ray of hope, of good, and it never relents.

April 6, 2008

The List is Life: #87

87.

The Dame;

Madhuri Dixit.

The Indian film industry is the largest in the world, it has the highest annual output of motion pictures of an industry around the globe (1200 in 2002, 877 in 2003) and the highest numbers in annual ticket sales. As such, its stars, many of whom turn out numerous productions every year, are iconic in status. Their popularity is so great, that many of the major names not only appear on film, they also perform songs from their films in concert. Madhuri Dixit is no different, acting on screen since 1984, a trained and highly accomplished dancer who first dreamed of being a micro-biologist before finding her calling. Though widely recognized for those abilities as a dancer and indeed as a singer, Dixit has a subtlety and control as an actress not widely found in Indian cinema, her heartbreakingly painful (and deservedly award winning) supporting turn in the 2002 production of Devdas, completely stole the show from the films two megastar leads. Following this success she retreated from the silver screen, finding her way to Denver, Colorado where she quietly enjoyed married life and the raising of her family. She did not return to the screen for 5 years till 2007’s Aaja Nachle, a film that while generally not well recieved, garnered much acclaim for its leading lady, and the proclomation of the New York Times that “she’s still got it”.

The Dude;

Bill Murray.

Among the dryest of the dry, Bill Murray somehow managed to establish himself as one of the funniest performers in American cinema. After graduating from the small screen, where he made his name on Saturday Night Live, Murray quickly established himself as a promising up and coming funny man in films like Caddyshack, Stripes, Tootsie and Ghostbusters. Soon thereafter he attempted to build a reputation as a dramatic lead with a starring role in an adaptation of W. Somerset Maugham’s The Razor’s Edge, which he co-wrote, the film was a failure and hurt by its resception Murray walked away from the limelight, leaving movies behind to study Philosophy and History at the Sorbonne in Paris, nothing but a cameo appearance in The Little Shop of Horrors for 4 years, until he returned to doing what does best, comedy, over the next few years turning out Scrooged, Ghostbusters II, What About Bob, and coming to a head with the widely acclaimed Groundhog Day in 1993. Following his reestablishment as a star he retreated largely to supporting roles for the next decade before in 2003 taking the starring role in Sofia Coppola’s Lost in Translation, earning an Oscar nomination, numerous awards and critical acclaim in a film that while shot through with the comedic touch you cannot help but find in Bill Murray movies, was largely dramatic in tone, helping him to find that dramatic leading status he had sought some 20 year earlier, he followed this with further leading turns in quirky dramadies The Life Aquatic with Steve Zissou and Broken Flowers further establishing himself in his new niche as a leading force in indie cinema.

The Director;

Carol Reed.

Carol Reed was one of six illegitimate children of the stage actor, drama teacher, and the impresario founder of the Royal School of Dramatic Arts, Sir Herbert Beerbohm Tree. As such, when as a teenager he sought to follow his father into acting, nobody could blame him, yet as time went by, it was as a director that Reed quickly established himself. In 1932 he began working at Ealing Studios, and the transition from stage to screen began, he made his directorial debut 3 years later with the adventure film Midshipman Easy. As the second world war began, Reed contributed to the war effort through doing what he knew best, his 1945 Ango-American documentary, The True Glory covering everything from the Normandy landings to the taking of Berlin, it won the Oscar for Best Documentary Feature and quickly established Reed was a name worth watching. A few years later he turned the crown jewel of his career, the iconic adaptation of Graham Greene’s The Third Man, perfectly pitched between darkness and humour, the magnetic and mysterous presence of Orson Welles looming in the long shadows as around his aura Reed crafts a perfectly shot, gloriously scored and wonderfully written piece of work that still towers over most films made in its era, or ever since. Over the next few decades he continued working steadily, mainly on adaptations, his finest moment coming when in 1952, he became the first British director to be knighted, before in 1968 he struck big, bringing to the screen Lionel Bart’s musical adaptation of Charles Dickens, Oliver Twist. Oliver! was a movie musical that while never lacking a lightness in touch, was never afraid to stray into the dark and savage places at it’s stories heart, with now famous turns from Jack Wild and Ron Moody, it was really the directors nephew, Oliver Reed, whose monstrous Bill Sikes stole the show. The film brought Reed his first Oscar as Best Director after 3 nominations and established his legacy beyond all doubt.

The Picture;

Last Days (Gus Van Sant, 2005)

With 2002’s Gerry, Gus Van Sant abandoned bigger budget studio pictures to return to the lower free form style of directing pioneered by the likes of Bela Tarr, he delved into experimental cinema in a way no major director had ever done before after achieving the sort of mainstream success that he had achieved with films like To Die For and Good Will Hunting. Following Gerry and 2003’s Palme D’Or winning Elephant, Van Sant turned in Last Days, the final part of what he has termed his ‘Death trilogy’ the physical isolation of Gerry, social isolation of Elephant came to a head with the mental isolation of Blake. Loosely based on the final days of Nirvana frontman Kurt Cobain, Last Days chronicles the downfall of a man losing the will to live, that simply through stylistic directorial choices makes the audience feel something similar. As our lead character sees nothing but mundanity all around him, through the sterile, static, hushed way in which Van Sant brings each barren, desolate shot to the screen we are left with some sort of understanding of just what is going through his mind. Last Days is not an easy film to watch, indeed it can be an incredibly harsh viewing experience, but the sheer artistry at its heart cannot be denied. With Elephant, Van Sant was accused of not giving answers or offering any sort of explanations as to the actions of his high school slayers, here he is not posing questions, he simply crafts a dark portrait.

April 5, 2008

The List is Life: #88

88.

The Dame;

Joan Crawford.

Perhaps most readily remembered for her feud with Bette Davis which came to a head in 1962 with her being blown off the screen in Whatever Happened To Baby Jane? and maybe forever tainted by the damning portrait painted by a bitter daughter in Mommie Dearest, the career that Joan Crawford enjoyed for over 30 years beginning at the dawn of the sound era seems to have been generally forgotten. She was an Academy Award winning actress with numerous acclaimed films under her belt, she worked with major directors and major performers. In Mildred Pierce she gave one of the more iconic performances of the golden era, and a decade later in Nicholas Ray’s Johnny Guitar, she took the lead as the westen was turned on its head, with strong women in the central roles. One of the greatest of the greatest age, she has insured that she’ll never be forgotten.

The Dude;

Paul Schneider.

Entering into the acting profession at the age of 24 (making him a late comer by todays standards) in the films of David Gordon Green, George Washington and more notably as the lead alongside Zooey Deschanel in All the Real Girls, Paul Schneider has in a just a few short years established himself as one of the more accomplished supporting actors in the movies today. In 2005 he took a side role in Cameron Crowe’s Elizabethtown and with his quirky small town simplicity, literally stole the show from the leads. Then in 2007 he had what could be termed a breakthrough year, with polar opposite roles. Firstly appearing as the villainous Dick Liddil in The Assassination of Jesse James by the Coward Robert Ford, a supporting role that he filled with both sinful sleaze and unabashed charm in equal degree, and an almost entirely opposite turn as a quiet, loving brother trying his best to cope with an awkward situation in Lars and the Real Girl. He’s a wonderfully subtle, assured and diverse actor whose career is certainly heading for great heights.

The Director;

Sydney Pollack.

I would venture to say that Sydney Pollack’s finest accomplishments have come in front of the camera rather than behind it. Always taking small roles in movies, he has on more than one occasion, ended up being the finest member of the cast, perhaps most notably in his tiny role in Stanley Kubrick’s Eyes Wide Shut. However none of these on screen accomplishments can take away from the fact that Pollack is an Academy Award winning director and producer. It was his Robert Redford-Meryl Streep epic Out of Africa that brought him this acclaim, but from where I am sitting his finest work comes in smaller, more character driven movies, where the performers, not the wondrous grandeur take centre stage. As the tagline to his 1969 Jane Fonda vehicle  They Shoot Horses, Don’t They? declared, “People are the ultimate spectacle” and rarely is that more in evidence than in Sydney Pollack’s films.

The Picture;

Close Encounters of the Third Kind (Steven Spielberg, 1977)

Though most widely remembered for the grandiosity of the final sequence, Steven Spielberg’s Close Encounters of the Third Kind is a film that is at heart one of his most intimate and human films. Driven at full force by a wonderful performance from Richard Dreyfuss, who won the Oscar for 1977’s The Goodbye Girl, but should probably have picked up the award for this film. It is a performance both comic and dramatic, filled with the wondrous curiousity of an overgrown child yet at the same time shot through with a certain darkness in its examination of a mans obsession and subsequent neglect of his family. It is that performance around which this film is built; there are brief moments of alien spectacle propping it up throughout, making sure that we remember that we are truly not alone in this one, all mysterious, all beautiful to behold but ambiguous in intent, and it all builds to a wondrous crescendo, that magnificently glorious finale in which all is revealed, truly epic spectacle, human curiousity and those 5 beautiful notes.

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