The Parnassus Times

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.

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