The Parnassus Times

March 22, 2009

The List is Life: #74

74.

The Dame;

Anna Friel.

Though she began acting at 13, it would be 5 years and a variety of appearances on numerous television shows before Anna Friel got her big break, hired to Channel 4’s  Brookside. Though only on the show for 2 years, it was a memorable 2 years, Friel entering into television history by partaking in the first pre-watershed lesbian kiss ever broadcast on British TV. Following her departure from the show her first work came in Stephen Poliakoff’s television movie  The Tribe, she courted controversy once again after much nudity and an infamous threesome scene proved to be what the show was most directly remembered for. Over the next decade, her most notable work came probably as Hermia in a starstudded production of  A Midsummer Night’s Dream, alongside such luminaries as Kevin Kline, Michelle Pfeiffer, Rupert Everett and Calista Flockhart. It was only in 2007 that her next real breakthrough came, landing the role of Charlotte Charles on ABC’s  Pushing Daisies, providing the sweet, but sparky love interest at the shows heart. Her easy charm, dry wit, telling, emotive eyes and her common but not TOO common voice making her an easy to love actress with underrated abilities.

The Dude;

Martin Sheen.

In spite of his fathers disapproval of the craft, Martin Sheen, bitten by a desire to act, deliberately flunked the entrance exams to the University of Dayton, borrowed money from a Catholic priest and headed to New York City. Early success came his way when in 1965, aged 25, he was nominated for a Tony for his supporting work in Pulitzer Prize winning play  The Subject Was Roses. The following years were filled mainly with work in TV movies and TV shows, before in 1973, he was hired to star in the feature film debut of Terrence Malick. Badlands was a resounding critical success upon release, playing at the New York Film Festival where it is said to have stolen the spotlight even from Martin Scorsese’s  Mean Streets. Despite the attention the film garnered, Sheen’s real breakthrough would not come until Harvey Keitel was fired from the lead in  Apocalypse Now after just 2 weeks shooting and he was drafted into replace him. The shoot lasted for 16 months and in the midst of production Sheen suffered a heart attack, the payoff came though, when the film won the Cannes Film Festival Palme D’Or, was nominated for Oscars and Sheen himself recieved a BAFTA nomination for his work. Movie success finally reached, Sheen worked steadily for the next 2 decades, won an Emmy, appeared in  Gandhi, played JFK in an NBC miniseries, acted as narrator in Oliver Stone’s  JFK, however it was not until 1999 that real superstardom came his way. Cast by Aaron Sorkin to play the President of the United States in  The West Wing, the role was initially intended only intended as a minor one, planned to appear in just 4 episodes a season, however after the pilot this plan was rethought and Sheen’s commanding screen presence benefited the show greatly. Easily, naturally switching between loving family man, mighty commander, poetic muser, or witty old soul, Sheen nailed every facet of the character, creating a President anybody could love, capturing his strengths and his weaknesses, his telling physicality and his complex web of emotions, nailing Sorkin’s trademark dialogue naturally, and finally sinking his teeth deeply into a role worthy of his talents, one that proved once and for all just what he could do.

The Director;

Krzysztof Kieslowski.

Kieslowski’s artistic origins emerged with an interest in theatre, a desire to be a theatre director was quickly quashed upon discovery that no training program for such desires existed at that time, thus film became an intermediary step, applying to the Lodz Film School, an institute that counts Andrsej Wajda and Roman Polanski amongst its alumni, rejected twice he was found himself third time lucky and attended between 1964 and 1968. His interest in theatre quickly subsided as his interest turned to filmmaking, particularly documentaries portraying every day Polish life. He quickly ran into all manner of difficulties, the heavy censorship of his film  Robotnicy 1971 leading him to doubt the ability to tell literal truths under an authoritarian regime, and following this, footage from his film  Dworzec being considered for use as evidence in a criminal case, pushed him towards a belief in the greater artistic freedoms of fiction filmmaking. He worked steadily across the next decade, before international acclaim came his way for his epic display of artistic ambition, Dekalog, a television series of ten hour length episodes, each exploring one of the ten commandements through ambiguous tales set in modern day Poland, two of which were expanded into individual features and played to international audiences, Krotki film o Zabijaniu, and  Krotki film o Milosci, (A Short Film About Killing and A Short Film About Love). 1991s  La Double vie de Veronique, again reached international acclaim, and worked as a perfect example of the directors reliance on telling his story visually rather than through words. However, it would be the last 3 works of his career that would bring him the widest spread fame. His  Trois Couleurs trilogy each encompassed one of the political ideals of the French Republic, liberty, equality, and fraternity. Bleu, told the hauntingly sad tale of a woman coping with life after the death of her husband and child. Blanc, a blackly comic tale of improving ones standing in life, and of gaining revenge for a great humiliation. Finally, Rouge, a visually gorgeous feast, that slowly intertwines the lives of its seemingly complete opposites of characters. Kieslowski died of a heart attack 2 years after the completion of this trilogy, aged just 54, but he had established himself as a master understander of the purest senses of cinema, as a man of grand poetic, artistic ambitions and ideas.

The Picture;

Do the Right Thing (Spike Lee, 1989)

Spike Lee made his feature debut with 1986s  She’s Gotta Have It, following it up with  School Daze in ’88, he displayed his knack for telling provocative, social tales, calls to action, and the following year he took that to the next level. Do the Right Thing brings Bed-Stuy to life, gorgeously shot, using red and orange filters to bring that 100 degree day to life in sun drenched visuals. Utilizing, in controlled measure, handheld camera work to drop you right into the action, to bring it viciously to life, occasionaly throwing the framing out of alignment, the disorientating nature of the heat put into visual perspective. The editing giving the film its heartbeat, from long takes and slow cutting to brisk, breakneck cutting, rising and falling with the pace of the picture. The performances all work, all imprint themselves on the brain, from Rosie Perez’s neglected girlfriend, Paul Benjamin, Robin Harris, and Frankie Faison sitting on the sidelines, watching the world go by with the bitter comedic rantings of the unemployed, John Turturro’s lost soul, consumed by confused hatred, Danny Aiello, trying desperately to keep the peace in an unravelling world, and Ossie Davis as the wise old sage of the streets, a king in tramps clothes. The film deals in race relations with an unfiltered, uncompromised view, there is no attempt at poetic profundity, no simple, easy answers, no epic revelations handed to the audience on a plate, no monologuing. The film eschews pretension, it handles its material in simple, straightforward fashion, it doesn’t lecture, it just is, and you soak it in.

March 21, 2009

The List is Life: #75

75.

The Dame;

Rachel McAdams.

Taking up acting at the age of 12, at a summer theatre camp, Rachel McAdams went on to earn a BFA degree in Theatre from Toronto’s York University. Following graduation, a few bit parts on TV lead to a role in 2002’s  The Hot Chick, yet it would be another 2 years before the London, Ontario native found fame, first as superbitch Regina George in Lindsay Lohan vehicle, Mean Girls, a show she all but stole from a very talented cast, and then as one of the leads in epic, decade spanning romance, The Notebook, alongside real life boyfriend Ryan Gosling, the two shared a sizzling chemistry that lit up the screen and displayed the great potential of McAdams as a leading lady. The next year brought further success, first as Owen Wilson’s love interest in box office hit  Wedding Crashers, playing a pretty underwritten role, but instilling it with her effortless screen charm, as part of a large ensemble in  The Family Stone, she managed to stand out from the pack, and alongside Cillian Murphy in Wes Craven’s  Red Eye she took another lead role and knocked it out of the park, the two leads working brilliantly off one another, McAdams filled her character up with a sweet naturalism that had you falling for her in an instant. Though the last few years haven’t brought much in a way of major roles, she’s clearly displayed enough talent and range to make her a major name of interest in the future of cinema’s leading ladies.

The Dude;

Michael C. Hall.

Michael C. Hall’s career began Off-Broadway, he spent his time working in productions of  Macbeth, Cymbeline, Timon of Athens and  Henry V, in addition to his Shakespearean work he appeared in controversial, modernizing and homosexualizing Jesus tale, Corpus Christi and displayed his musical abilities in an early incarnation of what later become Stephen Sondheim’s  Bounce, and then in his first Broadway role, as the Emcee in Sam Mendes’ Broadway revival of  Cabaret. It was this role that lead Mendes to suggest Hall to his  American Beauty screenwriter Alan Ball when he was casting for his new HBO series, Six Feet Under. Over the next 5 years his Emmy nominated work as David Fisher brought great internal anguish searing onto the screen, the viewer feeling his pain, his conflicts all the way. Since that shows conclusion in 2005, Hall has spent the past few years finding widespread fame as a righteous serial killer, in Showtime’s hit Emmy winning and Golden Globe nominated, Dexter. His drier than dry wit, and seamless transition from loving brother and boyfriend to vicious killer all working easily and effortlessly in his hands.

The Director;

Jean-Luc Godard.

Godard first rose to prominence alongside contemporaries, Eric Rohmer and Jacques Rivette writing film criticism for Andre Bazin’s Cahiers du Cinema in 1951, across the next decade he tried his hand at documentary making and produced a number of short films, before in 1960 he directed his first feature, A Bout de Souffle, the film came to encapsulate the Nouvelle-Vague movement, with its frenetic jump cutting, and character asides, it also saturated itself with numerous references to popular culture, most notably the American movies Godard was influenced by. The prime of his career lasted for about 7 more years, turning out films like  Le Mepris, Bande a Part, Alphaville, and Pierrot le Fou, films that generally worked to conventions and with reference to cinematic history, and very often featuring his wife and muse, Anna Karina.  Following the couples divorce in 1967, Godard’s career took a great swerve, suddenly, as if in line with the youth of the nation, his work became almost revolutionary, certainly anti-establishment, he was tagged as everything from a militant, a radical, even a Maoist, he began to delve far deeper into political and social issues that had been there before, but that now sat at the forefront of his work. Along with this change came a denouncement of much of cinema’s history as bourgeois, and thus without merit. He continues to work to this day, turning out usually at least a film a year, aged 78, he shows no signs of slowing down, and no signs of softening his edges.

The Picture;

beauty_and_the_beast1

Beauty and the Beast (Gary Trousdale & Kirk Wise, 1991)

The story, Beauty and the Beast, can be traced as far back as 1740, written by Madame Gabrielle-Suzanne Barbot de Villeneuve, a variety of different versions of the story evolved out of this one over the next few decades, abridged, and transformed into stage plays and opera form. The first major cinematic version was Jean Cocteau’s 1946, La Belle et la Bette, starring Jean Marais. However it was in 1991 when it came into the hands of the mighty Disney that it was forever immortalized for global audiences, and remains to this day, the only animated film to ever be nominated for the Best Picture Oscar. The production lends the story an epic grandeur rarely seen in animated movies up till this point, giving it a real feel of prestige, usually reserved for live action pictures, it maintains the tales classical feel perfectly for adult audiences, perfectly portrays the greatly conflicted central relationship that turns from hatred slowly to love for a younger more romantic generation, and fills itself out with a host of wondrously entertaining supporting characters to enthrall children everywhere. The songs are gorgeously written, and brilliantly vibrantly visually realized, as is the entire movie, whether playing out in grand ballrooms, dark forests, or drunk taverns, you can feel the atmosphere shining through the screen. It is a beautiful film to behold, turning a story two and a half centuries old into something both modern and old fashioned, for the young and the old, for lovers of  story or of visuals, it is truly universal, and a real classic for all time.

March 11, 2009

The List is Life: #76

76.

The Dame;

Olympia Dukakis.

Born in 1931, to Greek immigrants in Massachusetts, Olympia Dukakis began her career on stage, performing in Shakespeare and repertory companies, before making her Broadway debut at the age of 30. Though little success came her way at first, she found her home Off-Broadway on the smaller, more intimate stages, winning Obie and Drama Desk Awards for her work, winning acclaim in productions of  The Rose Tattoo, The Seagull and  A Man’s a Man, to name a few.  In 1973, she and her husband founded the Whole Theater Company in Montclair, New Jersey, which they ran until 1988. It was during that late 80s period, that she finally made her mark on movies. Having appeared in small parts all the way back to the early 60s, she landed the role of Cher’s mother in Norman Jewison’s  Moonstruck, beautifully, subtly underplaying the role to great impact, she won a Supporting Actress Oscar, for a breakthrough role at the age of 57. Since then, she has established herself as a regular working movie actress in projects as varied as  Steel Magnolias, Mighty Aphrodite and  Mr. Holland’s Opus, as well as a standout turn amongst the wonderful ensemble of Sarah Polley’s Away From Her. Along with her newfound cinematic success, she works regularly on TV and has never abandoned the stage, where at the age of 77, she still performs AND directs.

The Dude;

Ewan McGregor.

Emerging in the mid 90s, during the era of Cool Brittania, as emerging director Danny Boyle’s leading man of choice, Ewan McGregor established himself as a sturdy young performer in Shallow Grave, before becoming nothing less than a 90s British icon following his strung out performance in 1996s Trainspotting. The following year, director and star, along with writer John Hodge and producer Andrew McDonald, attempted to make a mark on the US, with A Life Less Ordinary, though the film couldn’t be considered much more than an interesting failure, it opened the way for McGregor to land the role of the young Obi-Wan Kenobi in George Lucas’ new Star Wars trilogy, and the international recognition that brought his way. Leading roles in creatively vibrant movies like Moulin Rouge!, Down with Love and Big Fish followed, but no matter how high his star has risen, McGregor has never abandoned his roots, with films like Young Adam and Scenes of a Sexual Nature bringing him back to the small, humble roots of Britain, and his global motorcycle adventures with friend Charley Boorman, Long Way Round and Long Way Down both stand as symbols of his desires, dreams and ambition beyond the screen. McGregor is an established Hollywood leading man, not afraid to take risks, not afraid to go back to basics, and effortlessly watchable with his easy, laidback charm.

The Director;

Michelangelo Antonioni.

Discovering drawing and music as a child, Michelangelo Antonioni took up the violin and gave his first concert at the age of 9, before abandoning the instrument upon discovery in his teens…of cinema. In his early 20s he began working as a film journalist for a local newspaper for 5 years, before moving to Rome where he began writing for the nationals official fascist film magazine, Cinema. After only a months he was fired, whereafter he attended the Centro Sperimentale di Cinematografia, studying film technique, this was another chapter of his life that never took off, withdrawing just 3 months later. Through the early 40s he worked as assistant on numerous productions, where he met Roberto Rossellini and worked with Marcel Carne. In 1950 he directed his first feature, breaking the neorealist hold on Italian cinema and portraying the middle classes of society. He was not afraid to venture outside his own nation, making films in France and in England, even tually tackling the working classes in his work, social alienation prevalent throughout his movies. In 55 he had experimented with the style that came to prove his trademark, replacing conventional narrative with sequences of seemingly unconnected events, shooting in long takes, often with sparse use of dialogue. 1960s  L’avventura played at the Cannes Film Festival to a wildly mixed reception, bringing the director to the international stage. He followed it up with the remaining two parts of a thematic trilogy, La Notte and  L’eclisse seeing him work with major stars and further establish his reputation. Following this he left mainland Europe, travelling first to Britain where he produced his ode to the swinging 60s  Blowup, signifying once more his refusal to rest on common ideas of plotting and reliance on dialogue, the film brought the director Oscar nominations for writing and directing, which saw him travel to America, where he turned out the duo  Zabriskie Point, again following his trademark style and utlizing a soundtrack of popular hits, and then Jack Nicholson vehicle  The Passenger. Afterwards he went back to Europe where he spent the rest of his careerworking mainly in his native language, producing features and segments in omnibus films. He continued working till he was 91, dying in 2007, at the age of 94.

The Picture;

Se7en (David Fincher, 1995)

At the age of 30, David Fincher had made his feature film debut as director of  Alien 3, a film in which he went to war with 20th Century Fox over script and budget issues. It was at the time, the most expensive film ever made by a first time director, and as such, the restrictions put on him, were perhaps no surprise. With his second film, Fincher scaled all that grandiosity back, focusing his film around the well established Morgan Freeman, and rising stars Brad Pitt and Gwyneth Paltrow. Built around a righteous serial killer in an age when such a thing was unseen in cinema, Fincher’s gloomy meditation on the state of the world established him as a master of creating dark and vivid atmospheres. Gripping from the first to the last, not least when the uncredited killer finally walks onto screen, Se7en took serial killer movies to another level, proving both an…entertaining viewing experience, and a provocative, thought provoking piece of cinema, finding that ideal balance between being mainstream and uncompromising,  it heralded the emergence of a major new talent at the forefront of the new wave of American moviemakers.

March 9, 2009

The List is Life: #77

77.

The Dame;

Christina Ricci.

Christina Ricci started out big, alongside recent Oscar winner Cher, hot young starlet of the moment Winona Ryder, and king of the underrated, Bob Hoskins, in the comedy-drama  Mermaids. Her natural cuteness lit up the screen, and so the starmaking role she took in the next years  Addams Family showed up her talent for diversity from the off. The class was so clear that in the sequel two years later her role was beefed up and she stole the show, before going on to her first major leading role in the similarly spooky  Casper some 2 years later. As the late teens hit, the type of projects she took on took a far more adult and fascinating swerve,  from the edgy  Opposite of Sex, to fascinating films and working with great filmmakers like in  The Ice Storm, Buffalo ’66, Fear and Loathing in Las Vegas and  Pecker, collaborations with the likes of Ang Lee, Terry Gilliam, John Waters and Woody Allen putting quite the sheen on the resume. She has also never been above mixing up her indie leanings with more mainstream fare, providing minor voice work in  Small Soldiers, starring alongside Johnny Depp in Tim Burton’s  Sleepy Hollow, the Wachowski brothers  Speed Racer, and appearances on the small screen in shows such as  Joey, Ally McBeal and  Grey’s Anatomy. However smaller, character driven movies have always been her forte, as the hugely different but always interesting likes of  Penelope, Monster and  Black Snake Moan have proven. Christina Ricci is constantly proving herself to be one of the most diverse and challenging young leading ladies around.

The Dude;

Humphrey Bogart.

After an early career on Broadway marked by an acclaimed turn in Robert E. Sherwood’s  The Petrified Forest, Bogart made his first impression on screen alongside Leslie Howard (who had to fight for Bogart to be cast) in the screen version of that same play. The role lead to him being typecast, playing gangsters in Warner Bros. B-pictures for the next few years, before in 1941, with the assistance of his good friend John Huston, his time to shine came. Firstly appearing in the Huston scripted  High Sierra, then following it up with a superstar making role playing Dashiell Hammett’s Sam Spade in Huston’s directorial debut, The Maltese Falcon. Two years later came  Casablanca, the Best Picture Oscar and immortality, before meeting Lauren Bacall in 1944 on Howard Hawks’ Hemingway adaptation of  To Have and Have Not. The two shared a sizzling chemistry on screen that carried over into real life and saw them married the next year, before teaming up with Hawks once again to tackle Chandler’s Marlowe in  The Big Sleep. Bogart continued bringing his laconic, world weary charm to films like  Dark Passage and  Key Largo, but it was his work in Huston’s  Treasure of the Sierra Madre that probably stands to this day as his finest work, crippled physically by the desert, and mentally by the lure of gold. Superstardom achieved, peer recognition followed in the early 50s, teaming with Huston again, alongside Katharine Hepburn he landed an Oscar as the drunken, grizzled boatman in  The African Queen. He continued on strong, The Caine Mutiny, Billy Wilder’s  Sabrina, and his final turn as a down on his luck sportswriter alongside Rod Steiger in  The Harder they Fall, before, aged 57, falling inevitable victim to his trusty sidekick through the years, the cigarette, he died of lung cancer, the effortless, easy cool diminished and defeated, he weighed just 80 pounds.

The Director;

Samira Makhmalbaf.

Daughter of acclaimed Iranian auteur, Mohsen Makhmalbaf, Samira Makhmalbaf dropped out of school at the age of 15, citing incompetent teachers and started observing her father at work, before attending a film course at private school. There she produced a short drama and documentary, before in 1998, aged just 18, her feature film debut  Sib (The Apple) was entered into official competition at the Cannes Film Festival. She followed it up 2 years later with  Takhte Siah (Blackboards) another film dealing with the treatment of youth in Iran, in a very different way to her debut. Since then she has produced two more features, dealing with topical issues in Iran for women and children, as well as a short film alongside other international filmmakers like Ken Loach, Sean Penn and Alejandro Gonzalez Inarritu, in a feature about the effects of 9/11 on people around the world. Still aged just 28, she is fast proving herself to be one of the most interesting and socially aware filmmakers around.

The Picture;

On the Waterfront (Elia Kazan, 1954)

In 1952, Elia Kazan gave up to the House Un-American Activities Committee, the names of 8 people within the film industry that alongside himself had been members of of the American Communist Party in the 1930s. Those 8 were quickly blacklisted and had their names removed from all productions of which they had been a part. In 1954, Kazan, along with writer Budd Schulberg and producer Sam Spiegel produced this 8 Oscar winning response.  The story of a man who in spite of the warnings of all around him, does what he has to do for his own peace of mind. The film landed Best Picture, and Kazan, his second Best Director Oscar, guiding an impeccable cast through Schulberg’s look at the hard bitten, hard working, down on their luck, New York dock scene. Eva Marie Saint won an Oscar for her debut screen performance, Lee J. Cobb, Karl Malden and Rod Steiger crowded the Best Supporting Actor category, but it was Marlon Brando, coming off the back of 3 successive Best Actor nominations who stole the show as Terry Malloy, the washed up boxer with the soft, feeling soul. It was 4th time lucky for the Omaha native who finally walked away with the big prize, to cap 5 of the best years of production that any actor ever had. Today, despite mulling over its origins, the film still stands tall as a testament to the human spirit, and as an ode to just how much hell it can be to get to heaven

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