The Parnassus Times

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.

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March 20, 2008

The List is Life: #91

91.

The Dame;

Parker Posey.

One of the finest comedians of her generation, Parker Posey is an actress who though not lacking in roles in major films such as Superman Returns (in which she was criminally underused) and Blade: Trinity (which simply wasn’t worth the effort) is at her best in small indie comedies, primarily those helmed by Christopher Guest in which she manages to shine, time and again. Rarely does she manage to land roles that are worthy of her pretty immense talent, but when watching her at her best in those Guest mockumentaries, one can only shake their head in disbelief at how she has not managed to reach a level of success that she unquestionably deserves.

The Dude;

Joseph Gordon-Levitt.

When Joseph Gordon-Levitt got his start on 3rd Rock From the Sun, few could have predicted what lay ahead for the youngster, yet in 1999s 10 Things I Hate About You when he starred in a cast full of bright young talents he displayed enouch charm and charisma to prove himsef as a more than capable leading man and few years down the line in 2004’s dark indie drama Mysterious Skin he stepped up to the plate and proved his creentials with a dark brooding yet sensitive and soulful turn, following it up with a commanding and powerfully confident turn in Rian Johnson’s high school noir, Brick, and then again in The Lookout in which he again took the central role at the head of an impressive cast and lead the way with tremendous conviction. At the age of just 27 the youngster is showing a great deal of integrity in the type of projects he continues to choose and seems to constantly be progressing as an actor. Probably the brightest young American actor there is.

The Director;

Kim Ki-Duk.

In the early 90s, Kim Ki-Duk studied fine arts in Paris, and when one looks at the sheer beauty with which he composes each frame, that is not something that comes as a huge surprise. After completing those studies he first got started in the film industry as a screenwriter, winning numerous awards before going onto make his directorial debut in 1996. Since then he has directed well over 10 films and that artistic beauty has remained throughout, he is also a man very much in love with the visual element of storytelling. His films are very often lacking in much dialogue, allowing the story to unfold visually, to see rather than be told, and it is that keen understanding of the core cinematic language that makes him one of the most captivating director working today.

The Picture;

The Fisher King  (Terry Gilliam, 1991)

Terry Gilliam is known for his bizarre journies into strange cinematic worlds, well known for his troublesome picturs that often alienate all but the very smallest cult of fans, he is a man who has always had grand aspirations yet not always managed to scale the heights of cinematic success the same way that he scales the walls of imagination. Yet in 1991 following the grand oddity that was The Adventures of Baron Munchausen, he turned in a film, that by his standards at least, would be considered normal. The Fisher King is a film set very much in the real world, yet featuring a dreamer with the most vivid sense of imagination, a film which more than likely draws from the directors own life as a cinematic artist. It is a film about redemption and awakenings, about the power of dreams and with a subplot that surely ranks amongst the very greatest cinematic love stories. A bizarre love letter to dreams and possibilities.

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