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.

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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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