Yesterday flipping around the channels I hit upon White Christmas, that old chestnut (1954) starring Danny Kaye, Bing Crosby, Rosemary Clooney, Dean Jagger, and dancer Vera-Ellen. I first saw this movie as a child, long, long ago, and have never forgotten that final scene with the entire cast in red and white, singing the title song with snow floating down all around. Magical. Today, the plot is, well, nothing less than corny, but you’ve got to hand it to the stars – they were talented, show biz pros. Vera-Ellen’s dancing was amazing, and the sound track contains such classics as “Count Your Blessings” and “Sisters”. Watch it for some old fashioned sentimentality, nostalgia, and post WWII can-do Americanism. It’s a lot of fun, even the preposterous parts (breaking into song at the railway station, for instance, or expecting the General to have been intimately acquainted with Privates Kaye and Crosby.) And oh, that Vistavision!!!
New college grad Skeeter Phelan comes home to Jackson, bent on starting a career as a writer. Her friends welcome her back, but Skeeter’s changed in ways that they have not. For one thing, Mississippi in the 1960′s was a hotbed of racial segregation, and Skeeter’s no longer comfortable with that. Her first summer home, she observes the way her friends (mis)treat their black maids, and, gradually, convinces some of the maids to talk to her about their lives, about which Skeeter knows very little. Soon, she has a publisher interested in compiling those interviews into a book.
The Help is written and directed by Tate Taylor, who elicited fine performances from his primarily female cast. Viola Davis, as the maid Aibilene, is the lynchpin that holds the story together, showing depths of carefully modulated dignity, strength, and emotion in her dealings with employers and friends alike. The other standout is Jessica Chastain, who plays the white trash bombshell who snagged the town’s most eligible bachelor and is shunned by everyone but Skeeter. Her ability to project vulnerability and honesty without pathos is awesome. Bryce Dallas Howard, in the thankless role of beautiful, dyed-in-the-wool racist and social leader Hilly, personifies the ugliness of the racial situation with aplomb. Emma Stone represents those looked their consciences square in the face and took up the banner in the civil rights movement, and as Skeeter, shows how much courage was necessary in that dangerous environment.
The Help has taken a lot of critical flak from folks who have an ax to grind about how it presents the issue of segregation. But, first and foremost, The Help is a movie, based upon a novel, not a sociological treatise. It’s intelligent, thought provoking entertainment. It shows how things were, and in many cases, still are, and if it brings awareness to the minds of people who weren’t yet born during the 60′s, it’s done its job.
2003. Directed by Shaun Levy, with Steve Martin and Bonnie Hunt.
2 of 5 stars
Not even Steve Martin can save this remake of Cheaper By the Dozen, which is not nearly as good as either the book by Frank B. Gilbreth, or the original film made in 1950, with Clifton Webb. Part of the charm of the story as written was the occupation of the paterfamilias as an efficiency expert. Martin’s character is a football coach, which all but eviscerates the comic potential. Except for the fact of the twelve children, this CBTD bears no resemblance to the Gilbreth saga. Setting aside this issue, how does it play as a family movie?
Not well at all, sad to say. Martin might as well have phoned in his performance. Bonnie Hunt as wife and mother channeled Carol Brady. The kids are OK, but there are too many of them for anyone but the eldest son to establish their character. The screenplay is predictable, and most of the “humor” falls flat.
CBTD might be suitable for viewing for families with young kids, but otherwise, it’s a yawner from start to finish. Why they ever made a sequel (CBTD 2) is a mystery. If you want to see a truly funny version of a true family, watch the original with Clifton Webb and Myrna Loy.
5 stars of 5
Only rarely does a movie based upon a novel capture the essence of the original, but with GWTDT, it’s now been accomplished twice over. If you’ve seen the excellent Swedish version that was released a couple of years ago, you’ve got to wonder why anyone would feel the need to do it again. Nevertheless, screenwriter Steven Zaillian and director David Fincher did just that, and though theirs is not quite so menacing, it’s exciting, compelling, and very well made. Daniel Craig turns in a solid performance as disgraced journalist Mikael Blomqvist, although it seems he’s been typecast, much as was Clint Eastwood in earlier days. Christopher Plummer is terrific in the role of aging industrialist Henrik Vanger, who hires Blomqvist to find out who murdered his young niece decades ago. The real star of this show, however, is Rooney Mara, the virtual unknown who landed this plum of a role, the unconventional, psychologically damaged, yet powerful Lisbeth Salander.
This is a dark, brooding film, with two themes, that of the murder mystery, and that of Lisbeth’s unrelentingly painful young life. Brilliant but almost psychotically defensive, she’s managed to retain her capacity for empathy. While she goes way overboard when compelled to bring about justice, she’s the type of heroine that you can’t help but root for. It’s interesting to see Lisbeth’s humanity begin to emerge as she and Blomqkvist begin to develop a relationship; too bad it takes about half the movie to get to their initial meeting. Though critics have written that the Zaillian version has been toned down for American audiences, its brutal violence and depravity are still difficult to watch. On the other hand, Sweden’s wintery scenery provides the perfect backdrop for such a story.
Let’s hope it’s not too long until the sequel, The Girl Who Played With Fire, hits the theaters.
1947, Allied Artists, black and white
There’s nothing like a vintage Christmas movie to capture the holiday spirit, and It Happened on Fifth Avenue, though not very well known, fits in beautifully with its more popular cohorts. In the aftermath of WWII, many vets are having trouble finding work and affordable housing for their families in NYC, and Jimmy Bullock (Don DeFore) hatches a plan to purchase and renovate local barracks into apartments. A homeless drifter, Aloysius McKeever (Victor Moore), has made a comfortable life for himself by squatting in Fifth Ave. mansion while its magnate owner, “the second richest man in the world”, winters in Virginia. McKeever has a good heart, and he provides a home for the vets while they work out their plan. Meanwhile, the magnate’s daughter (Gale Storm) has run away from her school, and falls in love at first sight with Jimmy, who has no idea that she comes from wealth. What plays out is a warm-hearted comedy of role-reversal, in which the magnate (Charles Ruggles) finds the heart that he’d encased in granite long ago.
The casting department did itself proud by assembling these actors, who play very well against each other. The real star is Victor Moore, who masterfully pulls off the role of tramp living like king without overplaying a single scene. There are many funny moments, and some schmaltzy ones as well. As in many early movies, the musical score is cloying to modern ears, but the film is engaging nonetheless, paying tribute as it does to the hopeful, can-do spirit of Americans after the war. The Christmas and New Year’s scenes occur at the very end, and perhaps this is the reason for the film’s failure to forge a strong association with the holidays. In 1948, it was nominated for the Academy Award in the best story category, but it lost to Miracle on 34th Street.
WWI changed England forever, and for the landed, life can never be the same. When John Whittaker (Ben Barnes) returns to the family estate with a beautiful, bold, American blonde (Jessica Biel) as his wife, his matriarchal mother (Kristin Scott Thomas) turns up her oh-so-cultured nose. His father (Colin Firth), however, is intrigued, to the point that he emerges from the funk of the survivor’s guilt he’s been suffering since the Great War. What sparks his interest is the panache with which his new daughter-in-law, Larita, deals with the barrage of nasty barbs launched by his wife.
The honors in this production, based upon an early play by Noel Coward, go equally to Biel, Thomas, and Firth, each of which turns in skillful, well-modulated performances. Mention is also deserved by Kris Marshall, in the role of the butler, whose urbane, proper exterior masks a surprisingly rebellious spirit. Director Stephan Elliott provided masterly control of the visuals, using the subtle cues of clothing, furnishings, makeup, and inventive camera angles to convey what is not being said, to wit, that the estate is bankrupt. There are plenty of amusing moments in this movie to offset the theme, that of an old way of life forced to give way to the new, and struggling all the way. Pay no attention to all the critical reviews in the press, and treat yourself to a lovely afternoon watching this well-crafted a well-crafted comedy/drama with a bouncy soundtrack of updated period music. Whatever else you think of it, the tango performed by Firth and Biel is a delight not to be missed.
The Haller essence
Matthew McConaughey proves he’s not just a pretty face in The Lincoln Lawyer. It’s difficult to translate books to the silver screen, and this is no exception. Based upon the novel by John Connelly, the movie lacks the heart that enlivened the written version. It does do justice, however, to the character of Mickey Haller, a smart, fast-talking defense attorney who knows all the tricks and doesn’t hesitate to play them. Kind of a conman with a conscience, if you can picture that. I wondered about the choice of Mcconaughey to play Mick, but I’m happy to report that he captured the Haller essence. His client, a rich boy accused of assaulting a working girl, will pay very well indeed if exonerated, but Mick senses there’s more to these accusations than meets the eye. A mature Marisa Tomei portrays Mickey’s ex, and while she handles well the material she’s given, the nature of their relationship (still loving each other) does not come through. William H. Macy shines as Haller’s investigator, as does Laurence Mason, the chauffeur with a keen mind. Michael Pena, a now-incarcerated former client (you can’t win ‘em all) makes the most of the few key scenes in which he appears, forwarding the momentum of the plot. But this is McConaughey’s show, and if his performance here is anything to go by, his career should be taking off from here on out. As should director Brad Furman’s.
Parents, if you’re tempted to allow your teenagers to travel on their own to Europe, watch Taken before you decide. Today’s Europe is a far cry from the romantic picture that many Americans still imagine. Bad things can and do happen to naive teens arriving for an adventure. Having visited France, the setting for Taken, several times in the past decade, I can say firsthand that this country has been inundated with emigres from eastern Europe, and not all of them are innocents in search of freedom. Organized crime has assumed a new face with new mobsters, and in some cases, the newcomers are more ruthless than the natives.
The plot of Taken centers upon a former CIA agent Bryan Mills, portrayed by Liam Neeson, whose daughter is off on a European jaunt, only to be victimized by Albanians eager to sell her virginal charms to the highest bidder. Film maker Luc Besson, whose rep was made by such action thrillers as La Femme Nikita, ramps up the tension by having the abduction take place during a phone call from father to daughter, during which he coaches her to feed him vital info about the thugs. When one of them picks up the cellphone, Mills warns them to release his daughter or face his considerable, professional wrath. Of course, they blow off his warning. But two days later, he’s onto them, and never, ever lets go.
Neeson displays his physical side, literally mowing down anyone who stands in his way with an arsenal of awesome martial arts moves and laser-eyed shooting ability. Keep in mind that I normally abhor films with brutal scenes of torture and endless chase scenes. I’ve recently read a lot, however, about sex trafficking, and have to admit that I was rooting for Mills to turn up the electricity and take out those SOB’s. Much of the action is totally implausible, but the crime is so heinous that I don’t care. Neeson brings a knife edged, single minded, merciless sense of purpose to this role, and while the daughter and her mother are mindless social twits, it’s hard not to pull for him every hard-won, a** kicking step of the way.
The first people’s princess
Decades before Diana, Britain’s royal family had another “people’s princess”, Queen Elizabeth’s sister Margaret. When Elizabeth ascended to the throne upon her father’s death, Margaret felt very much shunted aside. Her efforts to secure some attention for herself lead to a somewhat scandalous as a hard-drinking party girl, made notorious by the press and a frequent source of embarrassment to her relatives.
The Queen’s Sister was produced in 2005 by the BBC for television. In the opening titles is a disclaimer of sorts: “Some of the following is based on fact. And some isn’t.” The video follows her during the period from the death of her father to the late 1970′s. Having given up her fairy tale romance with the dashing (and divorced) war hero, Peter Townsend, in favor of maintaining her status, wealth, and luxury, Margaret moved on encounter little more than instability, disappointment and frustration. Some of her problems were self-inflicted, stemming from her own inherent haughtiness and sense of noblesse. Perhaps others were created by the demands of her social position. But it appears likely that Margaret made her own bed. We all have to live with the consequences of our choices.
Lucy Cohu plays the princess with great style, vibrancy, and yes, bawdiness. Toby Stephens as husband Antony Armstrong-Jones, Lord Snowden, does a nuanced job reacting to the stringent requirements of royal marriages, which are conveyed to him by Margaret’s brother-in-law, the Queen’s smooth enforcer, Prince Philip (finely acted by David Threlfall). The background shots capture the ambience of the 1950′s, ’60′s, and ’70′s, as does the music. Far from a dispiriting docudrama, The Queen’s Sister is fast paced, frequently funny (when the Archbishop tells Margaret he can’t marry her to a divorced man, she retorts, “I thought that’s why the Anglican church was founded.”), lively, and entertaining. It is also a reminder that “there is nothing new under the sun”. Perhaps Kate Middleton ought to check this one out!
Sisters Gillie (Kidman) and Sally (Bullock) were born into a family of witches, but they couldn’t be more different in their approach to this condition. Gillie’s the wild one, who thinks being a witch is cool. Sally wants a normal life and has avoided witchcraft like the plague; she was happily married, until her husband fell victim to the family curse, in which men who love these women suffer untimely deaths. Heartbroken, angry, and depressed, Sally moves back into her childhood home with her 2 kids, to live with the family matriarchs (Dianne Wiest and Stockard Channing). The trouble begins when Gillie hooks up with a loser, and needs Sally to get her disentangled before the guy kills her. The sisters inadvertently kill him instead, and when they try to bring him back to life, chaos ensues.
Whimsical and visually extravagant, Practical Magic swings from comedy to romance to mild horror and back again. All four actresses, each justifiably notable, are well cast. Perhaps the most fun comes from the main setting – the witches’ house is a pink Victorian confection with miles of staircases and an ocean view. Magic seems possible in a house like that. Some of the dialog is reminiscent of Doris Day movies (“What wouldn’t I do for the right guy?” and “Out of bed, sleepy head”), but some is genuinely funny. A few of the scenes may be a bit too strong for young children, but this film certainly does not have the edge of today’s vamp movies.
Practical Magic should not be taken too seriously as a film. Enjoy it for what it is, and you’ll have a good time.