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.

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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.

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