The Parnassus Times

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 16, 2008

The List is Life: #96

96.

The Dame;

Sissy Spacek.

Ever since her major film breakthrough in 1973 as the naive teenager Holly in Terrence Malick’s Badlands, Sissy Spacek has been an interesting actress to watch. Equally comfortable playing quiet, restrained young girls as she did in the Malick picture and in her most famous role to date in Brain DePalma’s Carrie, as she is at the ever popular art of cinema biopic-ing as she displayed in her Oscar winning turn as Loretta Lynn in Coal Miner’s Daughter, and as the quietly furious grieving mother in her final nominated turn to date in Todd Field’s In the Bedroom. She’s an actress capable of perfectly subtle and quiet, restrained turns.

The Dude;

Tom Hanks.

Many a term has been attached to Tom Hanks over his long and storied career. Whether we refer to him as the ultimate everyman, the new Jimmy Stewart, what cannot be denied is that over the two decades since his first Oscar nomination he has proven himself to be one of the most talented and capable actors of his generation. From his pure, unadulterated childhood innocence in Big, to the weary fighting spirit of Philadelphia, American simplicity in Forrest Gump, the quiet, humble masculinity of Saving Private Ryan, or the large stretches of wordlessness that populated Castaway, in which he held the screen with his physicality and nothing but a volleyball for company, Tom Hanks has proven a versatility not found among many of his era. Truly one of the good guys.

The Director;

Nicholas Ray.

Nicholas Ray left the University of Chicago after a year to study architecture on a scholarship under Frank Lloyd Wright where he learnt the importance of space and scope that would come in great use for a filmmaker with as beautiful an eye for visuals as he did. His socialist/communist leanings soon came between student and mentor and Ray departed for New York where he became involved in the theater until his good friend Elia Kazan hired him to work as assistant on feature debut, A Tree Grows in Brooklyn. From there Ray’s star grew and grew till the mid 50s when he was doing some of the most iconic work in Hollywood, a western centred around a woman in the magnificent Johnny Guitar and the iconic Rebel Without a Cause, a title worthy of the rebel who guided it to immortality.

The Picture;

El Laberinto del Fauno (Guillermo Del Toro, 2006)

Guillermo Del Toro started making movies in 1993 and he has always had a taste for the fantastic, from the gothic horror of his first, Cronos, to the sci-fi thrills of his English language debut, Mimic, through the comic book rides of Blade II and Hellboy, Del Toro has always wandered in strange realms. That wandering finally came to a beautiful crescendo in 2006 as the Spaniard turned in the most acclaimed film of the year, a tale of startling fantasy and harsh reality, balancing both worlds with perfect precision and taking the audience into the imagination of a young girl, along the harsh road she travels and the difficult lessons she learns. It is a beautifully crafted dark fantasy, written, directed, performed, shot and scored with the greatest love and passion. Growing up and facing the world has never been so painful or so beautiful.

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