The Parnassus Times

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.

Advertisements

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.

April 15, 2008

The List is Life: #81

81.

The Dame;

Carmen Maura.

Born into a family of conservative lawyers, the great-neice of Antonio Maura a five time prime minister of Spain, Carmen Maura began as was expected of her, studying philosophy and literature in Paris before marrying a lawyer and giving birth to her two children. She began life in show business as a cabaret singer before in 1970 (the same year as her divorce) making her movie debut and quickly establishing herself as a capable dramatic actress, but most noted for her work in comedy. In 1978 she collaborated with emerging director Pedro Almodovar on what would be the first of 7 films they would make in the next decade, culminating in 1988 with Mujeres al borde de un ataque de nervios for which she won her first Goya award. Soon after her partnership with Almodovar seemed to deteriorate, yet she continued to work regularly through the 90s, winning the Goya again, in 1991 and then a record breaking third for her role in 2001’s La Comunidad, before she reteamed with Almodovar for the first time in 18 years for 2006’s Volver. The film was a global success, and launched her right back into to spotlight of World cinema, and for her role, she won her 4th Goya, establishing herself beyond all doubt as a legend of European cinema.

The Dude;

Robert Duvall.

The son of a Navy Admiral, Robert Duvall moved around a lot as a young man from Maryland to Missouri, before graduating college in Illinois, following a year’s service in the army he studied acting in New York under Sanford Meisner. His screen debut came as the iconic Arthur ‘Boo’ Radley in the film adaptation of Harper Lee’s To Kill a Mockingbird, his work through the rest of the 60s consisted mainly of TV work before in the final years of the decade landing small supporting roles in films like Bullitt, True Grit and MASH. In 1972 at the age of 41 his breakthrough finally came as he landed the role of Tom Hagen in The Godfather, he landed his first Oscar nomination and went on to reprise the role in the sequel two years later. Further work in the fine ensemble of Network followed, before he landed the role he is most famous for, as Lnt. Col. Kilgore in Apocalypse Now he gave the picture it’s most famous lines and most famous sequences and was in turn nominated for his second Oscar. He went onto finally win the award 4 years later as a troubled country singer trying to put his life back together in Tender Mercies. Though he has worked consistently since, there were two great roles left for Duvall, in 1997 he made his directorial debut, with The Apostle, he also starred in the film as a preacher trying to escape a troubled past. However it was some 8 years earlier, in the television mini series Lonesome Dove, adapted from the novel by Larry McMurtry that he played what he claims was his favourite role, winning a Golden Globe and landing an Emmy nomination, he turned in some of the finest work of his career. Duvall has always been at his best playing flawed characters, men with darkness in their past, but men who at heart are good, always striving to atone. He took longer than many to get to the top, but when he got there he made it count.

The Director;

Vittorio De Sica.

Born into poverty in 1902, Vittorio De Sica began working as a theatre actor in the early 20s before in 1933 establishing his own theatre company where he produced mostly comedies, working at times with future neorealist peers like Luchino Visconti. He began acting on screen in his 20s and continued to do so regularly until the end of his life, his career behind the camera did not begin until 1940, and he quickly established himself as a leading figure of the neorealist movement. Turning out works such as Sciuscia, a chronicling of the lives of young impoverished shoeshine children near Rome. 1952’s Umberto D told the heartbreaking tale of a retired civil servant on a seemingly endless downward spiral and 1960’s La Ciociara, the film which won Sophia Loren her Oscar, detailing a young mother fleeing with her daughter from the bombing attacks on Rome in the Second World War. However De Sica is most widely remembered for the film that to this day stands as the cornerstone of Neorealist cinema, Ladri di Biciclette. A man just trying to find work, just trying to feed his family, and the hardships that life throws in his way, and the way in which he copes with them; the film is an immense tragedy that blazes the struggle of life in that era upon the brains of all who view it. 60 years down the line, it remains as powerful as ever, De Sica worked with non professional actors, and yet drew the absolute most out of them, capturing perfect heartbreaking naturalism on screen every time.

The Picture;

The Apartment (Billy Wilder, 1960)

Billy Wilder may be best remembered for the laugh out loud, riotous comedy of 1959’s Some Like it Hot, but it was the following years Best Picture winning The Apartment that proved his abilities to perfectly blend the tragic, the romantic and the funny sides of life. Jack Lemmon turns in one of his finest screen performances, twitchy, nervy, retiring, a walkover who’s willing to do whatever he has to do to get ahead; he pulls the audience on side in the opening moments and keeps them clutched there all the way through his struggles. There is fine supporting work from Jack Kruschen and Fred MacMurray, however it is Shirley Maclaine that waltzes away with the show. Aged just 26, Maclaine’s Fran Kubelik appears both steely strong, and adorably sweet; able to stand up to any man, but tender and breakable underneath. The character is a complex web of emotions, and through Maclaine it all flows naturally as a river. Off screen, Billy Wilder and longtime writing partner I.A.L Diamond are on the form of their lives, mixing the comedic and the dramatic, they meld their characters together to a tell a story that without being remotely cheesy, manages to be one of the most beautifully romantic ever made.

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 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.

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 15, 2008

The List is Life: #97

97.

The Dame;

Cate Blanchett.

A decade on from her breakthrough role as Elizabeth I in Shekhar Kapur’s biographical drama, Cate Blanchett has firmly established herself as one of the most respected and acclaimed actresses in the business. Here is a woman who can play seemingly any role from virginal young British queens to male American rock stars, one Oscar already under her belt and many more sure to follow. Though the accusation of cold and mechanical has often been shot her way, the Australian has shown immense talent in the utterly free flowing and naturalistic Veronica Guerin, a very underappreciated and underseen film that may just be her best performance to date.

The Dude;

Marcello Mastroianni.

One of the great stars of European cinema, Marcello Mastroianni was one of the most naturally charismatic and effortlessly cool stars to ever stride across the silver screen. This was a man from a small Italian village, a man that during the second world war was interned in (and escaped from) a Nazi prison. Yet all this could not stop him from achieving international fame and the reputation of Italy’s finest actor. Despite being one of only two actors to win the Cannes film festival Best Actor award twice, Mastroianni is most remembered for his perfectly underplayed but endlessly effective starring roles in Federico Fellini’s La Dolce Vita and 8 1/2, two of the sixties most revered and iconic films, thanks in large part to him.

The Director;

Claude Chabrol.

When talk of the French New Wave is brought up, it is the names Godard and Truffaut that are most readily heralded, yet in 1958, aged just 28, Claude Chabrol directed his debut film Le Beau Serge, and with this small town examination of opposites he is the man who essentially kicked off the movement that revolutionized French cinema. In the half a century since then, Chabrol has continued to probe the depths of humanity as well as establishing himself in the mystery and thriller genre as a sort of French Hitchcock. Though most of his peers have either passed away or simply passed their best, Chabrol continues to work efficiently into his 78th year.

The Picture;

Titanic (James Cameron, 1997)

Everyone knows the statistics, 1.8 billion dollars at the international box office (that’s roughly 700,000 ,000 dollars more than it’s nearest rival. 700,000,000 is about the international box office gross of Michael Bay’s Transformers) a record equaling 14 Oscar nominations and a record equaling 11 Oscar wins. Yet at heart it is all very simple, this is a story about rich and poor united in the face of the most immense human tragedy, a story about the destructive nature of man’s continuing struggle to ascend to immortality, a story about breaking free, about love. It is, in the end, of the same stock as the old romantic epics in Hollywood history, and more than worthy of that status. It is a modern classic, that blends both blossoming romance and epic disaster to create one of the great stories in cinema. The ship may have sunk to the bottom of the ocean, but as far as the film goes, there is nothing but ascension on the horizon.

Blog at WordPress.com.