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Thursday, January 12, 2012

AFI/BFI #197: My Fair Lady (1964)

Director: George Cukor
Writer: Alan Jay Lerner, George Bernard Shaw
Composer: Alan Jay Lerner
AFI Rank:  91 (1998), - (2007)
BFI Rank: -


My Fair Lady was already a phenomenal success on broadway when Jack Warner purchased the rights to bring it to the big screen. Rex Harrison, Julie Andrews and Stanley Holloway had originated the key roles and were all keen to star in the film but the casting of the film would be anything but simple. Jack Warner had seen Harrison in Cleopatra and felt him too old to play the part of Higgins. Cary Grant turned down the role claiming that not only would he not do it but he would not even see the picture if Harrison was not cast. Holloway got the part after James Cagney pulled out at the last minute. Andrews was not as lucky. Harrison had pushed for her even though he had initially had problems with her grasp of the cockney accent in rehearsals for the stage production. Ironically he felt Hepburn would have even more trouble but she surprised everyone delivering an iconic performance and Harrison later referred to her as his favorite leading lady. Hepburn's performance did not even get an oscar nomination but is perhaps less surprising given the popularity of Andrews in the broadway production and Marni Nixon's dubbing of all of Hepburn's numbers on screen. Andrews actually got the Oscar that year for Mary Poppins just to add salt to the wound. Surpisingly Marni is american and also had to get her chops around the accent but she had already proven herself dubbing Deborah Kerr and Natalie Wood in West Side Story (only on "Tonight") and The King and I. Marni has spent most of her career off camera including Mulan's grandmother in 1998. Ironically she did get a small part in Andrews breakout film just a year later, a little picture called The Sound of Music. Jeremy Brett was brought in to make Hepburn seem younger. He was 30 at the time while Freddy is 20. He too suffered the fate of overdub, this time by another american Bill Shirley.

The most striking thing about My Fair Lady is that the entire movie was filmed inside, specifically on a staggering 26 sound stages at Warner Brothers' Burbank studios. Coming on the back of the budget busting Cleopatra which was filmed on location in Rome, the decision was to keep the filming in Hollywood. All told it still became the most expensive Warner brothers film at that time coming in at $17m. There was absolutely no location filming, something that annoyed creator Alan Jay Lerner. The lack of any real exterior locations creates an interesting and almost claustrophobic stage set feel to the whole picture. This is particularly evident during the Ascot scenes which take on a surreal almost anachronistic quality making them more Logan's Run than Sound of Music. David Hall's choreography certainly adds to this and the result is perhaps more iconic than had it been filmed on location in the UK.

Beaton's oscar winning costume designs for the Royal Ascot scenes

George Cukor was already an established and respected director by the time he came to helm My Fair Lady. He had started on broadway and was especially skilled at bringing stage productions to the big screen. He did uncredited work on some of my all time favorite movies including Lust for Life, The Wizard of Oz and Gone With The Wind (which he was fired from).

My Fair Lady swept the oscars in 1965. It garnered 12 nominations and won 8 including Harrison for best actor, Cecil Beaton's incredible costume design, Gene Allen's incredible sets, sound, music, cinematography and most importantly of all best picture. In what has become a good indicator of oscar success Cukor had gotten the DGA award earlier in the year and went on to take the oscar too. It was an interesting year at the oscars with competition from Mary Poppins, Zorba The Greek, Becket and Kubrick's masterpiece Dr. Strangelove. Seller's was also on screen and stealing most of the scenes in The Pink Panther which only received a music nomination. Another of my favorite movies managed a visual effects nomination and a honorary makeup award for William Tuttle, George Pal's superbly quirky 7 Faces of Dr. Lao.

I had been holding off watching My Fair Lady as the blu ray was imminent and given the previous DVD restoration I had high expectations. The bad news is that this is not the hidef release everyone has been hoping and waiting for. Robert Harris covers the topic in great detail over at the Home Theater Forum. The bottom line is that if you have the DVD you don't need to upgrade, if renting then the blu ray is a fine option. My experience supports that. The blu ray is definitely a disappointment but not terrible relative to movies of the same age. It is just that expectations are higher for film of this profile.

The sixties was arguably the last decade of the great hollywood musical with the superb but commercial flop, Hello Dolly!, ushering in its end. Audiences of the seventies wanted gritty realism and even though there were some great musical pictures produced in that time including Grease, Jesus Christ Superstar and The Rocky Horror Picture Show, they were not from the same stable. If you don't like or don't get musicals then there is little I can do to change your mind except to say you are missing out on some of the greatest pictures ever made.

Surprisingly My Fair Lady was dropped from the AFI 100 in 2007 having made position 91 back in 1998 and hence its low showing in my combined list.

My Fair Lady is one of the greatest stage musicals ever produced, itself a musical adaptation of George Bernard Shaw’s Pygmalion, and a near perfect a big screen musical adaptation. It is unquestionably Crucial Cinema.


Thursday, January 5, 2012

AFI/BFI #198: My Name Is Joe (1998)

Director: Ken Loach
Writer: Paul Laverty
Composer: George Fenton
AFI Rank:  -
BFI Rank: 91


The BFI 100 is full of these gritty, realistic portrayals of life in working class britain. Their place in the list comes from a real pride we have in our ability to get these these movies even made at all. They are virtually impossible in a hollywood system based solely on box office numbers. But their real value is that they capture a time and place in a way that no documentary really can and leave something truly valuable for future generations.

Ken Loach is one of the master's of this kind of working class british cinema and he has two spots on the BFI list with both My Name Is Joe (#91) and one of the most acclaimed british films ever made, Kes (#7). He started in television with truly impact-full docudramas such as Cathy Come Home in 1964. He made Kes just five years later. I watched Kes for the first time in grammar school and until seeing My Name Is Joe it was the only Loach film I had ever seen. It had been sitting as the next movie in my list for a long time as I summoned up the willpower to sit through it. In the end I am glad I did.

Peter Mullan delivers an incredible performance as the films central character and it earned him the award for best leading actor at the 1998 Cannes Film Festival. An even bigger achievement once you consider he was up against Roberto Benigni for Life Is Beautiful, for which Benigni won an Oscar. He had started with Loach on Riff-Raff in 1991 and had squeezed in Braveheart and Trainspotting before Joe. Louise Goodall had also worked with Loach before on Carla's Song and turns in a memorable performance here. David Hayman is a nice choice too. Much of the supporting cast were not professional actors and were effectively playing themselves, even to the point that the police disrupted a shoot as they recognized one of the actors from a previous offense. The casting and script (with all 200+ f-words) is what keeps Joe so grounded in reality and ultimately makes it a truly great film rather than the average one it could so easily have been.

Joe is the second film that Paul Laverty and Ken Loach made together and they have been in constant collaboration since. I recently watched Bread & Roses which came just two years after Joe and is in itself a great movie, and the first foray into the US for Loach. They clearly work well together and Carla's Song and Sweet Sixteen are definitely on my to watch list.

Getting a copy to watch here in the US is unsurprisingly difficult. The only place I could find it in the end was via Amazon Instant Video and then only for purchase (the rental option conveniently disappeared just weeks before I bit the bullet and decided to watch it). The quality is good enough for the source material and with no other release in sight is really your only option. As with Trainspotting I have read Joe is often shown in the US with subtitles due to the strong Glaswegian accents. Hard to imagine needing them to be honest but something to think about if you don't know what PBS is.

Joe is not a feel good movie with a Hollywood ending and that may be the best reason to force yourself to watch it. Great filmmaking is about making an emotional connection with your audience and leaving them with something to think about other than where they parked the car. My Name Is Joe delivers on all of that and more and is without doubt Crucial Cinema.


Friday, November 4, 2011

AFI/BFI #199: Sophie's Choice (1982)

Director: Alan J. Pakula
Writer: William Styron, Alan J. Pakula
Composer: Marvin Hamlisch
AFI Rank:  - (1998), 91 (2007)
BFI Rank: -


Sophie’s Choice was added to the AFI Top 100 in 2007 and after finally seeing it I can honestly say it’s absence from the original 1998 list was a injustice that has now been thankfully righted. As with many films I have watched so far from the AFI list, in both the viewing and the subsequent research I was a little embarrassed to admit I had never seen it. I was a fan of Pakula’s other films, especially All The President’s Men and The Pelican Brief, and had no idea he had not only directed Sophie’s Choice but adapted the screenplay also. Add to that the fact that it contains the strongest and earliest performances of three great actors, you cannot blame me for wondering why I hadn’t noticed the rock that I had obviously been living under for the last couple of decades.

If you have never seen the film, read William Styron’s book or heard about the choice that is at the center of the movie then stop reading and go watch it. Its as simple as that. If you need more convincing then read on.

There are many reasons that this film is on the AFI list, not least of which is the acting. Pakula understands his actors and he has directed eight of them in Oscar-nominated performances: Jane Fonda, Liza Minnelli, Jason Robards, Jane Alexander, Richard Farnsworth, Jill Clayburgh, Candice Bergen and Meryl Streep. Three of them, Fonda, Robards and Streep, took one home, Streep’s for this picture. Her performance is simply astounding. Kline, in his first film role, is simply brilliant and Cleese cast him in A Fish Called Wanda based on this performance. I also came away with a new found respect for MacNicol. I have always thought of him as an average actor but what he delivers here makes him great.

Sophie’s Choice may have gotten Streep her Oscar but there was no nomination for the picture itself. It did receive nominations but no wins for cinematography, costume, music and screenplay. In 1983 it was up against some stiff competition to be fair: Gandhi, ET, Tootsie, An Office and a Gentleman, Das Boot and The Verdict. Plus some other great films but not so much Oscar competition including Tron, Poltergeist and a little film called Blade Runner.

Kline, Streep and MacNicol
It’s not all perfect. The pace is almost unbearably slow at times and you might be tempted to bail early. I highly recommend you don’t. As the story progresses you come to appreciate the time that was taken earlier on. If you have to watch it in a couple of sittings, but definitely finish it.

I watched the US DVD release of Sophie’s Choice as right now there is little alternative. The quality was as you would expect for an early eighties film which has seen little to no remastering. The picture quality, mostly overly soft, varies throughout and a good remaster and blu ray release is definitely required for such a classic film.

Sophie’s Choice is hands down Crucial Cinema.


Friday, August 12, 2011

AFI/BFI #200: A Place In The Sun (1951)

Director: George Stevens
Writer: Michael Wilson, Harry Brown
Cinematographer: William C. Mellor
Composer: Franz Waxman
AFI Rank:  92 (1998), - (2007)
BFI Rank: -


Theodore Dreiser’s parable on the myth of the American dream was published in 1925 and first commited to celluloid in 1931 with the same title. When George Stevens approached Paramount with the idea of filming another adaptation they were less than excited about a remake so soon after the original. It’s funny to think of 20 years as once being considered too soon for a remake in Hollywood. Stevens sued them for breach of contract and they finally let him make it and thank god they did. A Place In The Sun is as much a masterpiece of American cinema as the book is a classic of American literature.

Those new to the blog may not know that I detest reviews of films that give away the plot. The best way to see a movie is when you know absolutely nothing about it. Even the trailer can be too much. My goal is to get you to watch the picture and hopefully I occasionally succeed. A Place In The Sun is just one of those pictures. The less you know the better it will be.

What I can talk about is the cast. In 1949 Elizabeth Taylor was just 17 and her leading man, Montgomery Clift, was just shy of 30. A great child actor she had done little to suggest what she was capable of here and the studio took a risk that paid off and launched her career as a Hollywood icon. Shelley Winters had only played glamorous roles and taking this part in 1951 must have took incredible courage. The result is simply incredible, a film that is as good today as the day it was made.

Taylor and Clift relaxing on location at Lake Tahoe

The film took home 6 oscars for Best Cinematography, Costume Design, Direction, Film Editing, Music and Screenplay. Clift and Winter both got nominations as did the production itself for Best Picture. Impressive considering there was some serious competition that year from An American in Paris, Quo Vadis, A Streetcar Named Desire, the African Queen and Death of a Salesman.

It is a little surprising then that the AFI dropped it from their revised Top 100 in 2007 and that Rotten Tomatoes has it at a paltry 75%. The book is far better as usually the case, and the film is much lighter more melodramatic than its 1931 predecessor. Some critics feel it is now dated and that is most likely why it was dropped. I personally feel it has held up extremely well and is in my books at least, Crucial Cinema.

Thursday, August 4, 2011

AFI/BFI #201: In Which We Serve (1942)

Director:  Noël Coward, David Lean
Writer:  Noël Coward
Composer:  Noël Coward, Clifton Parker
AFI Rank:  -
BFI Rank: 92


Produced specifically as a World War II propaganda film, In Which We Serve earns its place on the BFI list not only for its accurate portrayal of the Royal Navy but also for its stellar cast, wonderful script and superb direction. Coward’s script, originally hours long before trimming, is based mainly on his close friend Mountbatten’s command of the HMS Kelly that was sunk during the Battle of Crete. Not only did he write but he also directed, composed the music and took the starring role of Captain Kinross. It was a contingency of his involvement that he got that role and it is not too hard to understand why that was baffling and concerning to many inside and outside of the industry at the time. His performance is a joy to watch but is unquestionably at times hard to believe. He was very concerned about his ability to direct and John Mills suggested he bring in the greatest editor he knew, David Lean. This would be Lean’s first time directing and we all know how it went from there. Coward got disinterested with the mechanics of directing and eventually left it to Lean, not even coming to set when he was not acting. The script non-sequential narrative would make Tarrantino proud and with it Coward manages to weave a far more emotional story, moving from home and family to ship and back again.

Richard Attenborough is astounding in his first ever role which is unfortunately uncredited, and of course John Mills is superb. My favorite role of all though has to be Bernard Miles as Chief Petty Officer Walter Hardy. I had not heard of him before but his performance is outstanding and the most memorable of the picture.

More interesting perhaps than who was cast is who was not. Coward blocked the casting of James Mason because of his position on the war and he fired William Hartnell (Dr Who was another 20 years away) for turning up late on his first day of filming.

Nominated for two Oscars in 1944 it lost to another great propaganda movie, Casablanca. The previous year Coward received an honorary Oscar for his outstanding production achievement on the film.

Due to the wonders of the internet you can read the original New York Times review from the US premier in 1942 which helps put the impact of this movie into the context of the time. Watching today many younger viewers will be hard pressed to understand what all the fuss is about.

Some may find it hard going initially as you acclimatize yourself to the classic acting style of forties British films, something Coward is an accomplished expert in. A lot of stiff upper lips and not too many quivering lower ones there are a lot more truly emotional performances than you would expect. But once you are immersed in it the picture carries you along for the ride and what a ride it is.

In Which We Serve is unquestionably Crucial Cinema and one of those rare films that gives you a real glimpse into the past while remaining highly watchable.

Monday, July 25, 2011

AFI/BFI #202: Bringing Up Baby (1938)

Director: Howard Hawks
Writer: Dudley Nichols, Hagar Wilde
Composer: Roy Webb (uncredited)
AFI Rank:  97 (1998), 88 (2007)
BFI Rank: -


 One of my favourite comedies of all time is Peter Bogdanovich’s What’s Up, Doc? (1972). I knew going in to this viewing that Bogdanovich was paying homage to Bringing Up Baby but that really didn’t prepare me for just how much of What’s Up, Doc? dna was inherited from Hawks’ comedy classic.

For Grant and Hepburn this was their second of four movies together. Grant had already proven himself a great comedic actor but Hepburn came to the picture with no background in comedy. It is hard to imagine whilst watching her superb performance that she needed intensive coaching to get there. Much of her final performance was influenced by Walter Catlett, who Hawks kept on set to help Hepburn with her performance and also played Constable Slocum. The resulting on screen chemistry is simply brilliant and there are very few 70 year old movies that have made me laugh as hard and as often as Baby.

The writing team of Dudley Nichols and Hagar Wilde is clearly a match made in heaven, so much so that they actually fell in love while writing the screenplay. Nichols had taken home an Oscar three years earlier for The Informer and would pen Stagecoach the following year. This was Wilde’s first screenplay based on her own original short story published originally in Collier’s Weekly magazine. She would deliver a few more movie scripts including Hawks’ I Was A Male War Bride and Red, Hot and Blue before spending the rest of her career in TV. For me this is their best work and was way ahead of its time, perhaps why it stands up so well today.

There is heavy use of optical effects in the picture and they were delivered by a personal hero of mine Linwood G. Dunn, pioneer of the optical printer and visual effects in general. He worked on King Kong, The Hunchback of Notre Dame, Citizen Kane and virtually every RKO production including compositing the original RKO logo.

Given all of this it is surprising that the film was such a box office failure in it’s day. Hawks was even fired from his next production at RKO. He felt he had failed at the time but how much of that was due to the poor reception is hard to tell. In retrospect it is possibly his greatest movie.

I watched Baby on DVD (Amazon also has it on streaming) and it looked about as good as you could expect for a 70 year old picture. The two disc set as some nice extras including a commentary from Bogdanovich which is worth a watch. There is currently no Blu ray release date.

To fully appreciate it you need to give it your full attention. Laptops and iPads away. Bringing Up Baby is without question Crucial Cinema and for fans of What’s Up, Doc? and madcap comedies it is essential viewing.

Friday, July 22, 2011

AFI/BFI #203: Caravaggio (1986)

Director: Derek Jarman
Writer: Suso Cecchi d'Amico (uncredited), Nicholas Ward Jackson,Derek Jarman
Composer: Simon Fisher-Turner
AFI Rank:  -
BFI Rank: 93


If the BFI is looking for quotes to put on its upcoming Blu Ray release of Caravaggio may I humbly suggest they go with “Like Watching Paint Dry!” (Crucial Cinema).

Cheap jokes aside, much of this movie does actually involve watching paint dry but more on that later. You cannot fault Jarman for his vision and direction. What he manages to put on film is the life of Caravaggio in Caravaggio’s own style. Many scenes are delivered as if directly from one of his paintings giving it the feeling of a filmed stage production, with Caravaggio himself painting that same scene in many cases (hence the unique opportunity to watch paint dry). A passing familiarity with Caravaggio’s work while not essential will definitely let you get more out of this picture than you otherwise would. Recognizing why for example he is holding a painted Medussa shield in an early scene.

This all results in Caravaggio’s life being delivered almost as a passion play, and perhaps fittingly so. It plays to both Caravaggio’s life and the religious content which was the subject of most of his works.

It is for all those reasons I can see why it made the BFI Top 100, especially if voted for by those who saw it when it originally came out. Unfortunately for me that doesn’t make it an enjoyable film to watch. It has a decidedly eighties made for channel 4 feel about it and perhaps being from that generation I just find it more cringworthy than the older or younger viewer might. The real issue for me is the performances. These are all great actors in their debut or at least very earliest roles and although we all love their work now it is a little hard to watch here. Sean Bean is especially painful to watch. The stand out performance comes from Nigel Terry as Caravaggio himself, perhaps because of the theater like nature of the production.

Although Caravaggio received only a couple of film festival awards it does deserve it’s place in film history. Ultimately for me however it is simply not Crucial Cinema and if you have not seen it then I don’t suggest you go out of your way to do so.