The Parnassus Times

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 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

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.

April 2, 2008

The List is Life: #90

90.

The Dame;

Sally Field.

One of the most expressive of actresses, Sally Field is a performer capable of breaking hearts with the slightest twitch of her brow. Working steadily and successfully for almost 40 years in the business, Field began at the age of 20 playing Gidget, the role immortalised by Sandra Dee on the big screen in a short lived television series. If this, and her first major screen appearance in Smokey and the Bandit did little to establish her credibility as a performer, the 2 oscars she won for Places in the Heart and Norma Rae certainly established her as one of the greats of her generation, leads in smaller projects and fine supporting turns in bigger projects followed, before at the age of 60 she returned to the small screen once more, winning acclaim and awards for her role as the matriarch in Brothers and Sisters. She’s a highly accomplished actress on stage and screen, whose career doesn’t look like it’s going to be slowing down any time soon.

The Dude;

Kevin Spacey.

Rising to fame in the late 80s and early 90s with supporting turns among fine ensembles in films like Working Girl, Henry & June and Glengarry Glen Ross, Kevin Spacey’s star began to rise when he played the monstrous Buddy Ackerman in Swimming wth Sharks before catapulting through the roof one year later when he turned out the double header of Se7en in which he stole that films final act and frankly, the entire film itself from its fine cast, before going on to turn in an Oscar winning and frankly iconic turn in The Usual Suspects. He continued on with fine supporting work in films of differing quality from A Time to Kill to L.A Confidential, and voiced the villain in Pixar’s second animated feature A Bug’s Life before going onto secure immortality and winning the lead actor Oscar for the Best Picture winning American Beauty. In the 9 years since, Spacey’s film work has been rare, perhaps realising he could never really top his achievement in that arena he has turned his attention to the theatre, where since 2003 he has been working as the creative director at the Old Vic, one of the London’s oldest playhouses. The majority of his time has since been spent doing all he can to recapture the glory in the medium that first made his name.

The Director;

Paul Greengrass.

Paul Greengrass first established himself as a filmmaker to watch at the ae of 47 when he directed the award winning drama Bloody Sunday, the film depicted the harrowing events of Londonderry in January 1972 and was most notable for the documentary style in which is was shot. Greengrass quickly took the opportunity that his nefound fame afforded him and crossed the Atlantic where he directed the Bourne Supremacy and the Bourne Ultimatum, building upon the success of Doug Liman’s fluid, slow burning original with fast paced, breakneck and claustrophobic action that established both he and his unique style on the Hollywood radar. His harrowing United 93 also displayed his ability to continue to perform in that humble, human arena that had helped established his name to begin with. Though he now approaches the age of 53, Greengrass remains a director to watch on the Hollywood horizon whether at the helm of blistering action pictures or small scale human ones.

The Picture;

Bringing up Baby ( Howard Hawks, 1938 )

Though not the first of the great screwball comedies of the last 1930s, Bringing up Baby may well be the finest of its type. The now immortal Katharine Hepburn was, at the time, considered box office poison. Her anti-Hollywood attitude working in complete contrast to all industry conventions, dressed in pantsuits, wearing no make-up, an intellectual who refused most interviews with the press her single Best Actress Oscar was not going to save her from being one of the most unpopular stars of the era. Yet her effortlessly natural comedic turn here is one for the ages and alongside Cary Grant she forms one of the great cinematic pairings, the two of them sparking off one another from first shot till last, delivering laugh after laugh whether together or apart. Howard Hawks, whose most famous film to date was the gangster picture Scarface, turns his hand to comedy for the first time since his early forray into the genre in 1934’s Twentieth Century and this time surpasses that attempt in almost all respects, proving himself to be one of the most diverse and widely capable directors in the history of the movies.

March 13, 2008

The List is Life: #98

98.

The Dame;

Paulette Goddard.

 Despite appearing in many fine films throughout the 30s and 40s not least as one of an all star cast in George Cukor’s The Women, Paulette Goddards career is most widely remembered for her place alongside Charles Chaplin in his masterful pictures Modern Times  and The Great Dictator. Chaplin’s Tramp was, and is, an iconic film character, and Paulette Goodard was the finest of all his leading ladies.

The Dude;

Harrison Ford.

One of the all time great movie stars. With more charm than a hundred cocky pretenders that have come in his wake, Harrison Ford emerged from humble beginnings in carpentry to become one of the cinemas great icons. Whether as the charismatic rogues in superstar franchises Star Wars  and Indiana Jones, working alongside cinematic maestros in films like Blade Runner, Witness  and Frantic or putting that effortless charm to perfect use as the driving force between riotously entertaining pictures like The Fugitive, Harrison Ford has remained a star throughout. 31 years after his initial breakthrough the man is still going strong and preparing to don that most legendary of fedoras one more time.

The Director;

George Lucas.

Though with each passing year since he first ventured into that galaxy, far far away George Lucas has become more a cinematic mogul than a filmmaker, the influence that he has had on the film business is absolutely unquestionable. From his earliest travels into the realms of Sci-Fi with THX-1138  through his nostalgic, teen movie gem American Graffiti  and into that immortal galaxy of filmic legend Lucas has proven himself a trail blazer and innovator in the medium. The influence of Star Wars  on the way major movies were made is unparalleled and the work that his THX sound company and Industrial Light & Magic visual effects company is beyond comparison. George Lucas has branched beyond his far off galaxy to have a mighty influence on the world of cinema.

The Picture;

Suspiria (Dario Argento, 1977)

The greatest slasher film ever made. Dario Argento’s horror masterpiece is a perfect exercise in the creation of fearful atmospheres and a masterclass in the use of wide open spaces to rack up unbearable tension. Accompanied by one of the creepiest scores in cinematic history, Argento uses vivid colours, darkness, empty space, and the elements in addition to the giallo genre’s trademark gore to present the viewer with the sort of terrifying experience that is not easily forgotten.

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