The Parnassus Times

April 6, 2008

The List is Life: #87

87.

The Dame;

Madhuri Dixit.

The Indian film industry is the largest in the world, it has the highest annual output of motion pictures of an industry around the globe (1200 in 2002, 877 in 2003) and the highest numbers in annual ticket sales. As such, its stars, many of whom turn out numerous productions every year, are iconic in status. Their popularity is so great, that many of the major names not only appear on film, they also perform songs from their films in concert. Madhuri Dixit is no different, acting on screen since 1984, a trained and highly accomplished dancer who first dreamed of being a micro-biologist before finding her calling. Though widely recognized for those abilities as a dancer and indeed as a singer, Dixit has a subtlety and control as an actress not widely found in Indian cinema, her heartbreakingly painful (and deservedly award winning) supporting turn in the 2002 production of Devdas, completely stole the show from the films two megastar leads. Following this success she retreated from the silver screen, finding her way to Denver, Colorado where she quietly enjoyed married life and the raising of her family. She did not return to the screen for 5 years till 2007’s Aaja Nachle, a film that while generally not well recieved, garnered much acclaim for its leading lady, and the proclomation of the New York Times that “she’s still got it”.

The Dude;

Bill Murray.

Among the dryest of the dry, Bill Murray somehow managed to establish himself as one of the funniest performers in American cinema. After graduating from the small screen, where he made his name on Saturday Night Live, Murray quickly established himself as a promising up and coming funny man in films like Caddyshack, Stripes, Tootsie and Ghostbusters. Soon thereafter he attempted to build a reputation as a dramatic lead with a starring role in an adaptation of W. Somerset Maugham’s The Razor’s Edge, which he co-wrote, the film was a failure and hurt by its resception Murray walked away from the limelight, leaving movies behind to study Philosophy and History at the Sorbonne in Paris, nothing but a cameo appearance in The Little Shop of Horrors for 4 years, until he returned to doing what does best, comedy, over the next few years turning out Scrooged, Ghostbusters II, What About Bob, and coming to a head with the widely acclaimed Groundhog Day in 1993. Following his reestablishment as a star he retreated largely to supporting roles for the next decade before in 2003 taking the starring role in Sofia Coppola’s Lost in Translation, earning an Oscar nomination, numerous awards and critical acclaim in a film that while shot through with the comedic touch you cannot help but find in Bill Murray movies, was largely dramatic in tone, helping him to find that dramatic leading status he had sought some 20 year earlier, he followed this with further leading turns in quirky dramadies The Life Aquatic with Steve Zissou and Broken Flowers further establishing himself in his new niche as a leading force in indie cinema.

The Director;

Carol Reed.

Carol Reed was one of six illegitimate children of the stage actor, drama teacher, and the impresario founder of the Royal School of Dramatic Arts, Sir Herbert Beerbohm Tree. As such, when as a teenager he sought to follow his father into acting, nobody could blame him, yet as time went by, it was as a director that Reed quickly established himself. In 1932 he began working at Ealing Studios, and the transition from stage to screen began, he made his directorial debut 3 years later with the adventure film Midshipman Easy. As the second world war began, Reed contributed to the war effort through doing what he knew best, his 1945 Ango-American documentary, The True Glory covering everything from the Normandy landings to the taking of Berlin, it won the Oscar for Best Documentary Feature and quickly established Reed was a name worth watching. A few years later he turned the crown jewel of his career, the iconic adaptation of Graham Greene’s The Third Man, perfectly pitched between darkness and humour, the magnetic and mysterous presence of Orson Welles looming in the long shadows as around his aura Reed crafts a perfectly shot, gloriously scored and wonderfully written piece of work that still towers over most films made in its era, or ever since. Over the next few decades he continued working steadily, mainly on adaptations, his finest moment coming when in 1952, he became the first British director to be knighted, before in 1968 he struck big, bringing to the screen Lionel Bart’s musical adaptation of Charles Dickens, Oliver Twist. Oliver! was a movie musical that while never lacking a lightness in touch, was never afraid to stray into the dark and savage places at it’s stories heart, with now famous turns from Jack Wild and Ron Moody, it was really the directors nephew, Oliver Reed, whose monstrous Bill Sikes stole the show. The film brought Reed his first Oscar as Best Director after 3 nominations and established his legacy beyond all doubt.

The Picture;

Last Days (Gus Van Sant, 2005)

With 2002’s Gerry, Gus Van Sant abandoned bigger budget studio pictures to return to the lower free form style of directing pioneered by the likes of Bela Tarr, he delved into experimental cinema in a way no major director had ever done before after achieving the sort of mainstream success that he had achieved with films like To Die For and Good Will Hunting. Following Gerry and 2003’s Palme D’Or winning Elephant, Van Sant turned in Last Days, the final part of what he has termed his ‘Death trilogy’ the physical isolation of Gerry, social isolation of Elephant came to a head with the mental isolation of Blake. Loosely based on the final days of Nirvana frontman Kurt Cobain, Last Days chronicles the downfall of a man losing the will to live, that simply through stylistic directorial choices makes the audience feel something similar. As our lead character sees nothing but mundanity all around him, through the sterile, static, hushed way in which Van Sant brings each barren, desolate shot to the screen we are left with some sort of understanding of just what is going through his mind. Last Days is not an easy film to watch, indeed it can be an incredibly harsh viewing experience, but the sheer artistry at its heart cannot be denied. With Elephant, Van Sant was accused of not giving answers or offering any sort of explanations as to the actions of his high school slayers, here he is not posing questions, he simply crafts a dark portrait.

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March 17, 2008

The List is Life: #94

94.

The Dame;

Nicole Kidman.

Despite being one of the biggest movie stars in business for over a decade and having being best known at one point more for making up one half of the ultimate Hollywood power couple rather than for her movie roles, Nicole Kidman stepped up to the plate at the turn of the century and proved once and for all that she could turn out magnificent work on screen on a regular basis. Prior to her double hit in 2001 with the creepy horror The Others and her Oscar nominated turn in the musical Moulin Rouge! Kidman’s only real performance of note had come under the direction of Gus van Sant in 1995s To Die For, post 2001 she enjoyed a few years of marvellous success in which she took risks entirely foreign to stars of her status, Birthday Girl, The Hours, Dogville, and Birth all proved her capabilities as an actress on smaller and more serious scales. Though since 2004, success has generally eluded her, her participation in movies such as Fur and Margot at the Wedding prove she is still willing to take those risks, and that can never be a bad thing.

The Dude;

Steve Buscemi.

Perhaps the ultimate king of indie cinema. After taking bit parts in the Coen bros. Miller’s Crossing and Barton Fink, Steve Buscemi rocketed to fame as Mr. Pink in Quentin Tarantino’s Resevoir Dogs. Since then he has enjoyed a wonderfully varied career as an actor, taking part in the tiniest indie films yet still keeping his profile alive in big budget pictures such as Armageddon, Monster’s Inc. and The Island. Buscemi has also enjoyed success behind the camera, directing small indie films, perhaps most notably 2007’s Interview, as well episodes of HBO shows, Oz and The Sopranos, the latter of which he had a tremendous part on during the shows fifth season. Buscemi is that rare kind of performer who has managed to remain a famous name in major movies without ever selling out his crediblity.

The Director;

Sam Mendes.

Coming from the world of theatre, few could have judged Sam Mendes if he had kept to the style that he knew, as many have done before him. Yet in his three feature films to date, Mendes has displayed a magnificent eye for gloriously cinematic visuals, mixing that visual flair with beautifully human stories he has quickly emerged as one of the more exciting directors in American cinema. Having picked up the Academy Award for direction with his debut film and having that very same film win Best Picture cannot have been an easy act to follow, but so far Mendes has remained varied and interesting and it would not be a surprise to see him surpass that marvellous debut at least once in the future.

The Picture;

The Searchers (John Ford, 1956)

John Ford and John Wayne began collaborating in 1939 with Stagecoach, yet their most famous cinematic pairing came 17 years later with their landmark work in The Searchers. Wayne had played outlaws and men of immensely tough spirit yet never before had he gone to the lengths that he had done in this film, his Ethan Edwards was a racist, obsessive, borderline psychopath and these themes radiated throughout the movie. It was not the first film to explore these themes but certainly one of the first to probe them to the extent that it was done here. Fords attempts to delve into the plight of the Native American and the abuse they were subjected to was many a year ahead of its time to the point of being nothing but a modest commercial success upon initial release, yet as the years have gone by, its status has grown and the way it examines the formation of a nation holds up as well and as powerfully today as it has ever done.

March 16, 2008

The List is Life: #95

95.

The Dame;

Lily Tomlin.

Since her career took off during the 1960s, Lily Tomlin is an actress who has found great success on television, film,  and with her famed one woman shows on stage. Her most famous  cinematic collaborator is unquestionably Robert Altman with whom she made four films, including earning her one and only Oscar nomination to date in his Nashville, and was one of the standouts in his swansong, A Prairie Home Companion. She is a wonderously electric comedic performer, yet at the same time so perfectly adept at finding small, beautiful moments of humanity whenever she ventures into dramatic territory.

The Dude;

Steve Carell.

Though unquestionably loud, the majority of times that he appears on screen, Steve Carell is at the same time, incredibly subtle in the small moments. Small glances, shrugs, and gestures that add layers of depth and humanity to the laugh out loud moments of riotous comedy. His performance in Little Miss Sunshine works in complete contrast to almost everything that he has done in that, though full of humour, it is entirely deadpan and laying beneath everything is a heartbroken melancholy. I don’t think it would be too much of a stretch to say that even with his worldwide fame, Steve Carell probably doesn’t get enough credit as an actor.

The Director;

Stanley Donen.

The director of iconic films brimming with iconic moments, the sailors of his debut, On the Town, letting loose in New York, New York, Cary Grant’s last great screen hurrah, alongside Audrey Hepburn in Charade, Peter Cook and Dudley Moore unleashed upon cinema audiences in Bewitched, those Seven Brides for those Seven Brothers and of course, Gene Kelly in the rain, dancing his way to immortality. Donen’s forte was generally in the musical arena, yet when the songs were nowhere to be found, the fun certainly never dreid up. His films were always fun, always a breeze to watch; he was not a director who ever let himself get to attached to one type, he simply told stories, and entertained millions.

The Picture;

Naked (Mike Leigh, 1993)

The searing work of a master, Naked is an unrelenting rant, a dark and bitter portrait of lower class England in the 1990s. Revolving around Johnny, played with dark, bitter humour and a weary knowingness by David Thewlis, this film is all about him; we journey through this world with him and are constantly subjected to his rants. Whether or not you appreciate the film may depend entirely upon how you feel about him, this is not an easy film to stomach and it is absolutely certain that repeat viewings will do wonders for one’s appreciation of it. This is a dark, dark world of morally greay human beings, and yet Mike Leigh makes it endlessly fascinating by managing to probe through the wordiness to find the humanity in each and every one of the sublime cast.

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