The Parnassus Times

May 10, 2009

The List is Life: #73

73.

The Dame;

Michelle Pfeiffer.

Early work as a Vons check out girl and brief, boredom inducing college stints in the fields of Court Stenography and Psychology filled out the early part of Michelle Pfeiffer’s life, before, at the age of 20, she won the Miss Orange County beauty pageant, and after participating in Miss Los Angeles pageant that came after, was signed by Hollywood agent John LaRocca. The early part of her career consisted of commercials and bit parts playing nameless blondes, at one point she is reported to have tearfully exclaimed down the phone to her agent how “They’re putting me in hot pants, again!”. Personal insecurities lead her to join a cult, dealing in vegetarianism and metaphysics, they eradicated her drinking, smoking and drug habits, but took a huge amount of money in the process, control of her life was handed over to them before meeting budding actor/director Peter Horton during acting class at the Beverly Hills Playhouse, after helping her away from her predicament and getting her life back on track, the two married in 1981, and Pfeiffer’s rise began. She worked successfully through the 80s in all manner of films, Grease 2, Scarface, Ladyhawke, The Witches of Eastwick, some challenged her as an actress, some required her to stand around being pretty, something she actively loathed. It was at the tail end of the decade that after 10 years of toiling, her breakthrough finally came, first with her BAFTA winning, Oscar nominated turn in  Dangerous Liaisons, and then following it up the next year in  The Fabulous Baker Boys, BAFTA and Oscar nominations again coming her way, and a Golden Globe win her triumph. Another Oscar nomination and a host of Golden Globe attention would come her way over the next half a decade, her crowning glory in the 90s coming as Catwoman in Tim Burton’s  Batman Returns, her performance going down as as perfect an embodiment of any character in comic book history as there has been, capturing the human frailties of the character, and exuding every ounce of sexiness the role could have asked for. As 40 approached, the parts slowed down, though she still worked her charms in comedy and drama, period and contemporary, as a leading lady, as a supporting one, she displayed a great deal of range, tackling Shakespeare, working with the likes of Scorsese putting her up there as an actress as capable as any other of her generation. In the latter half of the first decade of this new century, the roles started to flow again, turns in  Hairspray, Stardust and reteaming with  Dangerous Liaisons director Stephen Frears, to take the lead in  Cheri, putting her back on the grand stage as an actress of a certain age to watch with a great deal of interest.

The Dude;

Robin Williams.

Mork and Mindy put Robin Williams on the map as one of the funniest performers around, at the same time his stand up comedy work, including 3 HBO specials brought him to an even broader audience, as did a 1986 co-hosting stint at the Academy Awards. It was the following year in  Good Morning, Vietnam that he finally put himself on the map as a movie performer to watch, landing an Academy Award nomination, he charmed audiences worldwide with his motormouth antics, and the incredible improvisation he had put to use during his years as Mork on the small screen. Two years later Williams showed a side not seen before, in Peter Weir’s  Dead Poets Society, the glint in the eye was still there, the sense of humour still prevalent, but the entire performance was infinitely more reigned in, far more calm control kept on proceedings, and Williams was thoroughly convincing, absolutely inspiring, BAFTA, Oscar and the Globes all sent nominations his way, his attempts at proving his range successful. Over the next few years Williams star went through the roof, varied work in the intimate dramatic  Awakenings, the madcap, sweet romantic in  The Fisher King, bringing a whole new side to Peter Pan in  Hook, not to mention  Aladdin, his magical voice work as the Genie, ushering in a new era of star power in animated features. In  Mrs. Doubtfire he reached perhaps the peak of this early period, turning in a performance that blended the most riotous comedy with some of the most heartfelt, pained drama, this mixture of humour and heart has always been Williams’ calling card, perhaps what has made him most popular. An Oscar finally came his way in 1998 for  Good Will Hunting, his transition to respected dramatic thespian well established, and perhaps paved the way for him to venture deeper into dramatic territory as he did in 2002, in Insomnia and  One Hour Photo, the former zany comic revealed a side of himself never seen before, venturing to a  dark, disturbed corner of the human psyche, he captured his characters disturbed mentalities, but found the humanity in them, found the heart, and proved himself beyond question as one of the most brilliantly diverse and capable actors of his generation.

The Director;

William Wyler.

Born in 1902, in the Alsace region of France (then part of Germany) William Wyler was the son of Melanie, his mother was a distant cousin of Carl Laemmle, found of Universal Pictures, and in 1921, after making contact with his uncle, who was always on the look out for promising young Europeans to come to America and work, he set sail to New York. After working as a messenger there for Universal for two years, he made his way west with dreams of becoming a motion picture director. After a number of years of toiling with odd jobs, cleaning stages, moving sets, he beame the youngest director in Universal history when he started taking the helm of the dime a dozen Westerns that the studio was famed for in the era. As the 30s came, he began to branch out, drama, comedy, romance, even gangster work coming under his umbrella, Wyler was famed for his insistence on multiple takes, pushing his performers to the brink, and often getting career best work out of them, a point proven by the fact that he directed a record 31 performances to Oscar nominations in his career, 13 of whom went on to win, including the only wins in the careers of Audrey Hepburn, Charlton Heston and Barbra Streisand. Wyler’s career, which had begun in the silent era, went on strong past the fall of the Hays production code into the realms of new Hollywood, in that time he sat at the helm of 3 Academy Award Best Picture winning films, all of which he won directorial honours for, he brought  Ben-Hur to the screen, the film that stood alone for almost 30 years as the only film to win 11 Oscars, he was credited by Bette Davis as making her the box office star she became after directing her to her second Oscar in  Jezebel, and his  Mrs. Miniver was said to have awakened support for the British war effort against the Nazis in the till then uninterested United States. The man gained success in all manner of different genres, was as comfortable at the helm of the most intimate drama as he was in control of the biggest epic Hollywood had ever seen, and continued going strong for 45 years.

The Picture;

Aguirre, der Zorn Gottes (Werner Herzog, 1972)

Werner Herzog is a filmmaker, who in his movies combines great visual poetry, with the most primal humanity. This was perhaps never better on display than in this film, the 1972 picture than brought him to the attention of the wider cinema going world. Partly funded by the public broadcasting company of Germany, Hessischer Rundfunk, it premiered on television in the country on the same day that it opened in cinemas, the film did not perform so well in its native country, but around the world, in Latin America, and when it was finally released in the United States, its reputation as a cult classic was quickly solidified. The production is legendary, shooting on location for 5 weeks in the Peruvian rainforest on the Amazon, shot entirely in sequence, so that the journey of the cast and crew would be directly represented on screen in line with the journey of the characters, the low budget no stunt men or elaborate effects were possible, the crew had to trek over mountians, cut their way through thick jungle terrain, and travel down often treacherous waters on rafts built by the natives. Though perhaps the toughest obstacle of all was the films leading man, Herzog and Klaus Kinski’s infamous relationship has gone down in history, and for good reason, the two clashed from the beginning, Kinski firing off a gun on set, taking off the top joint of one extras finger, continually walking off set until being threatened with an act of murder-suicide by his director. However for all the obstacles before them, what ended up on screen is pure poetry, a work of carnal beauty, a harrowing portrait of the destructive nature of obsession, shot through the lens of a man who makes it look like a documentary, and very often…seems amused by the whole thing. It is an inspired, unique piece of work, and one that shall surely continue to go down in history as testament to just how much can be achieved, with so little.

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.

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.

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