The Parnassus Times

April 13, 2008

The List is Life: #82

82.

The Dame;

Anjelica Huston.

Anjelica Huston is Hollywood royalty, so it may seem strange to some that she never really broke into movies until her mid 30s when she was cast in her father’s Prizzi’s Honour, and subsequently won an Oscar for the role. It was not a debut, she had been working in the business since her first appearance (doubling as Deborah Kerr’s hands in the spoof version of Casino Royale) in 1967, but it was her first major role, and when she won that award that so many strive for, for so long, one wonders why she had not begun sooner. Since then, Huston has established herself as one of the great supporting actresses of her generation, equally adept at comedy and drama, in the widest variety of roles playing everything from ghastly witches to nuns. The only shared trait in her work seems to be that of strength, an attribute of the Huston family going back to the time of her grandfather Walter, a pioneering actor of the sound era, a strength that has not flinched one bit as the Huston families legacy has been carried forward in the hands of a woman. Having, since the turn of the century, become almost a muse of director Wes Anderson, playing small but important, revered and iconified roles in his films, she has proven beyond all doubt her status as a legend of the game, one that has continued to build her families legacy onwards and upwards and one who shall be remembered for years to come as one of the best of her era, entirely worthy of her name.

The Dude;

Heath Ledger.

Gone so suddenly and so early, more than certainly on the cusp of the A-list status he had been approaching for so long, it has become popular to speak of Heath Ledger in grand terms. What can certainly be said, was that in 2005 he gave what is almost unquestionably one of the finest screen performances in history. In Brokeback Mountain he worked in complete contrast to Jake Gyllenhaal’s wild angst, and in doing so painted a perfectly captured study of repression. Entirely internalised, his performance was a physical one, sealed lips, through which hardly a word escapes and when it does, is difficult to decipher, hunched shoulders, hanging head, barely able to make eye contact, a curled fist, a microcosm of his character. His work is one for the screen, the sort of performance that would be useless on the stage. Though in his short career prior to this he never showed anything like the abilities he did in earning that solitary Oscar nomination, there was wonderful promise from the very start. In his screen debut in the high school comedy 10 Things I Hate About You, his performance mixed the macho and mean with the tender and the caring, his eyes saying as much as his words, in Terry Gilliam’s flawed Brothers Grimm, he displayed the internalisation he perfected in Brokeback Mountain. While Matt Damon mugged and overemoted his way through the movie, Ledger’s performance was again a physical one, told more through movement, through the face, than via words. This restraint was displayed through most of his work, in the Australian drugs drama Candy, he starred alongside side Abbie Cornish, and again, contrasted her theatrics, with nuance, and quiet, internal pain; just as he had done 5 years earlier as the emotionally tormented son in Monster’s Ball, a performance that could easily have given in to hysterics, but in the hands of a quickly learning, quickly maturing actor, was held back and made far more interesting. He seemed wise beyond his years on the screen, learning quickly and turning early promise into something more potent, it is a very great shame, that he will never have the chance to show again, just what he was really capable of.

The Director;

Cecil B. DeMille.

Along with D.W. Griffith and Buster Keaton, Cecil B. DeMille was one of the great American trailblazers in the cinematic arena. While both his peers were certainly knew a thing or two about spectacle, during the first few decades of the industries existence, there was nobody anywhere in the world that milked the awe, wonder and possibilities out of the medium in the same way that DeMille did. In the beginning when shackled by silence and black and white images, there was still no denying his epic intentions, his 1923 version of The Ten Commandments, 1927’s King of Kings, and into the sound era with his Claudette Colbert starring version of Cleopatra. DeMille understood that there was nothing in the world capable of achieving cinema’s grandiosity and as technicolour set in he took it a step further, Samson and Delilah, The Greatest Show on Earth and that final, mightiest of swan songs, his second version of The Ten Commandments. He died in 1959 of heart failure, it was during that preceding decade that cinema had come under fire from the popularization of the television, the little box that diluted the power of the silver screen, and flew in the face of all that had men like DeMille had established. That his departing and it’s rise came in the same 10 year span can easily be seen as a turning of the tide, but cinema has endured, and every epic that has come since has owed a debt to him in one way or another.

The Picture;

The General (Buster Keaton, 1927)

Buster Keaton began directing films in 1917 at the age of 22, it wasn’t until some 5 years later with Our Hospitality that he really came to the fore as a filmmaker. He enjoyed a successful run for the next few years, turning out films like Sherlock Jr. and The Navigator, before in 1927, after 10 years as a director, he created The General. An adaptation of Congressman William Pittenger’s memoir, The Great Locomotive Chase; the film was a box office failure upon initial release, but over time has gained its deserved status as a classic. It is at once both riotously funny and sweetly romantic, Keaton may not have had the ability to touch the human heart with quite the intensity of Chaplin, but he was a master technician and innovator of his craft. Looking back at The General, some 80 years after it’s release, some of the magic on display is bewildering to behold; coming one after the other, Keaton strings together setpieces that not only make you laugh but have you with jaw agape, wondering just how he did it. This film was made some 50 odd years before computer effects came into play, Keaton did everything himself, and it left his crown jewel with not only laughs, not only heart, but awe inducing spectacle.

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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.

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