Johnny Simmons

I was supposed get this done since earlier in the week, but I'm always being distracted. Movie weddings are always interesting, they're usually quite over the top and when it comes to over the top weddings few come close to Shelby's peptobismol spectacular in Steel Magnolias. We spend a good deal of the first act waiting for the wedding to materialise, and that it does. The thing is, as over the top as it is the wedding works for the movie, only Shelby would have a spectacle as a wedding...

Because it's a small town Southern film, of course the church is packed. Can you spot Shirley MacLaine's head there? She's least interested, and really who can blame her. Isn't the church always the most boring part of weddings?

Sure, Julia was not the best in show but I have no issues with her nomination and she is so personable as Shelby. Olympia Dukakis is so sweet, too. Though I like the film, proof, I wonder how it would have played out if Bette Davis had gotten her wish and played Ouiser opposite Katharine Hepburn as Clairee.

Ick! Call it pink, call it pepto bismol or call it blush and bashful the decor is still godawful. A streak of pink, pink and more pink. I'm not too knowledgeable of fashion, but those have got to be the most hideous bridesmaid dresses.

But that does look cute...

That wink is meant for MacLaine's Ouiser.

McDermott is a little bland, but I'm not the one marrying him. Still, he's giving me a slight David Schwimmer vibe in that picture. Look closer at those bridesmaid dresses, ladies would you be caught dead in that? The ceremony finishes just after, but there's still the reception...

Pink again.

Darryl is probably the weakest of the six for me, but I like this movie and she plays her part well. She's overdoing Annelle's weirdness just a little, but I'm fine with it.

This shot works best in motion, but I still find it funny.

The scene eventually switches to the bridal home as the happy couple prepare to go off on their honey moon. I like the way that Sally Field's M'Lynn looks just a little sad, of course she's the Overprotective mother bear, so she can’t help but be wistful as her eldest departs.

NBC are premiering a TV adaptation of the 1989 flick Parenthood with Lauren Graham and Peter Krause. I don’t know if I’ll watch but I sincerely hope that it’s a success. I’ve adored Lauren Graham for all the years she was Emmy snubbed doing excellent work on Gilmore Girls and though Michael C. Hall was the real find for me on Six Feet Under I remember Peter Krause with fondness alone. But to be honest they’re not the only reason I’m hoping for success with this show. The 1989 comedy Parenthood is a film that I admire. It is after all #51 on my list of favourite films, and in a list that has already scene gems like The Talented Mr. Ripley, Who’s Afraid of Virginia Woolf and Dead Man Walking lower down you can understand just how much I love it.                

Have you seen Parenthood? I wonder what your excuse is if you haven’t. It is – as you can surmise – about being a parent. It is an unenviable job at the worst of times, but Parenthood is a comedy so it’s more than about the bad times. I remember Parenthood and immediately remember the luminous Dianne Wiest who earned a second Oscar nomination (Supporting Actress, naturally) for her work here. She plays a single mother with two children. Her daughter is engaged to Keanu Reeves – so you can just imagine her troubles; and her younger son is questioning the whereabouts of his father who has another family. You probably know by now, but I’m excessively fond of this woman. She is so talented (and simultaneously underused) that it’s not even funny. Dianne Wiest is one of the two women who are able to make Keanu Reeves youthful machinations bearable – the second is Glenn Close. Dianne is both comedic and dramatic in her role, and it’s a bit tough at times. She has to show us the ferocity of her motherhood but she has to be easy going enough to let that questionable DNA of Reeves into her family, and she has to make it all mesh together. She does. When she comforts her son in a pivotal scene you cannot help but feel for this woman. Parenthood is not only about Ms. Wiest though. We have other families, notably – Rick Moranis and Steve Martin. They’re not Dianne Wiest but the two men are good here. They opt out of their usual physical comedy and do some excellent work. Moranis in particular is good as a torn father. I can’t remember Parenthood without remembering those child actors who are just adorable.

            

Parenthood is a comedy, and it’s an ensemble piece. It’s funny, but it’s real. It’s strange I suppose that in a year of Driving Miss Daisy, Born on the Fourth of July, Crimes & Misdemeanours that this off kilter comedy was my favourite film; but it was. It is absolutely enchanting.

            

It opens with a wedding. Cinema is amok with weddings, some good and some disastrous and Shelby our young ingénue of sorts is determined to have her wedding. A justifiably precocious Julia Roberts plays her with that tinge of Southern drawl that’s both charming and irritating as she tells us about her wedding. “My colours are blush and bashful” to which her careworn mother asides “Her colours are pink and pink.” They are in Truvy’s beauty shop preparing for the big day. Truvy is played by Dolly Parton, who underappreciated as an actress, bringing just the right amount of quasi-humour to the part. Darryl Hannah’s Annelle and Olympia Dukakis Clairee round out the lot. They will soon be joined by Shirley MacLine Ouisa – an eccentric, cantankerous old woman with a heart of gold. Steel Magnolias is a story about these six women. Sure most of them have men who drift in and out, since unlike Harling’s  actualy play it doesn’t take place in the one setting with these six women for the duration. Still, there is no denying that they are the heart, soul, brain and face of Steel Magnolias.

             

Julia Roberts earned an Oscar nomination for her performance and it’s not difficult to see what’s in her favour. She is the youngest of the lot and so we see her age the most as she goes through marriage and motherhood and voters love a martyr and an ingénue so her character is all but irresistible. Don’t get me wrong. I adore Julia Roberts and she is everything that Shelby needs to be, but (save for Hannah) she is surrounded by four exceptionally talented who cannot help but outshine her. I persist that Dolly Parton gives her greatest performance here, possibly one that fits her good-natured self to a T, but excellent nonetheless. Harling gives her some of the best quips in the script and she goes about it being so irrepressibly charming that you can’t help but be impressed with her at the end. The same goes for Sally Field’s M’Lynn. Sally and Julia make a believable mother and daughter pair and Sally has never been one to hold back on scenery chewing. There is a scene that occurs with fifteen minutes to spare at a funeral which is really a monologue. It’s the best scene of the film and Sally Field is excellent here. It’s a wonder she didn’t go on to an Oscar nod (the Globes recognised). The film is a light-hearted one but Sally puts so much emotion into that scene that she could make tears come from a rock.

                

Whereas Sally offers the more dramatic moments of the film, Dukakis and MacLaine offer comic relief as two old friends always at it. It’s a beauty to watch these two Oscar winners doing what they do best. Sure Shirley’s Ouisa may seem over the top but it’s not as by the book as it seems it’s so endearing to see her and Olympia walk around hand in hand. Darryl Hannah rounds out the set playing Annelle, a bashful hairdresser to be that Truvy takes in. It’s easy to forget her in the lot and even resent her semi-annoying character tics but she really does grow as the film progresses and her few words to Sally Field at the end are so poignant (and ridiculous) and she completely sells them.

               

The men don’t have that much time - Dylan McDermott and Tom Skerrit have the most screen time and the latter is especially hilarious when he must fight it out with Shirley MacLaine. Kevin J. O'Connor plays Truvy’s son and much is asked of him, the same goes for Sam Shepherd who has few lines as her husband – but he has a few potent lines at the end that are played just right that are as moving to the audience as they are for Dolly.

           

When I see films like Steel Magnolia I always wonder why there aren’t more films like this about men, although I suppose that is too much to ask. I’m not sure what to classify Steel Magnolias as. It’s a comedy; it’s a drama; it’s romance; it’s a family story. You’ll laugh, you’ll cry and above all else you’ll be entertained. Steel Magnolias is a rarity I believe, it’s been relegated to unimportance but it’s a good film. It is one of the films in my top 100 I am aware is not as good as I believe, but what is the internet for if not highlighting your misguided opinions?  It's my #58.

I grew up in the nineties, and I had my fill of animated films. I’ll always think that the classic 2D animation is the best. The renaissance of Disney occurred towards the end of the 80s when a fresh new idea came to Disney in the form of an adaptation of the classic fairy tale The Little Mermaid. I was never fond of the actual fairy tale. The somewhat poignant climax is diminished by the schmaltzy spiritual ending – but whatever. Despite this one having a happier ending, I find it more touching. I can’t remember the first time I saw this movie, but for a looooooooong time I was obsessed with Ariel. I used to seek out people with the name just because I’m sure we would be betrothed – and my name is not even Eric. I’ve moved on from that stage, thank God. But I still find this movie particularly enchanting. From the plight of Ariel, Triton’s fatherly affection, the wonderful machinations of Ursula and the charming score. I am a big fan of this.

           

Let’s begin with Ursula. Disney films hinge on villains – they range from the two dimensional to the profoundly human. Many of them are quite enticing, but the two villains that have had the most profound effect on me are Maleficent [Sleeping Beauty] and the aforementioned Ursula. There’s that scene towards the end where she becomes gigantic as the waves…that was some scary shit as a child. As an adult now, I just find it comical. I’m always one to look for hidden subtext in everything, and now I find Ursula’s plight quite tragic. The culmination of her character is in the under loved and sinister 'Poor Unfortunate Souls'. The song is played for ostensible dramatic flair, but now when I hear it I feel this acute sense of pity. This woman is pathetic; this deformed looking, beige Octopus thingy with those repulsive eels for company. If I was her, I’d want to destroy Triton’s life too.

             

Ariel represented a turn from the heroines of yore – she was not silent like Aurora, insipid like Snow White or even dutifully reticent like Cinderella. She was a stepping stone for future heroines [Jasmine, Belle, Mulan], though she was not quite as unwaveringly brave as they were. Like all these heroines though, she was particularly bound to her father. At the end of all the dilemmas when Ursula has gone, Ariel realises that to have Eric she must give up her father. She gives Eric a sad, longing look. We can only assume what she’s thinking… and then her face goes into shock as she realises that she has legs. It’s a bigger moment than we may realise. Obviously it represents that moments in all parents lives when they must let their children go and it is profound as we see that bittersweet look on Triton’s face.

             

                                 

There are only four songs in this movie…well four and a half ['The Daughters of Triton'], and I really don’t know how 'Under the Sea' was the one Oscar chose. 'Under the Sea' is a nice frothy filler number, but it is never the song that jumps out at me. It’s a wonder that anyone can resist that sensual melody of the Caribbean crab Sebastian’s crooning in 'Kiss the Girl'. The rhythmic beats, the slow soothing sounds – it’s captivating and words well with the movement of the film. The diva ballad 'Part of Your World' is easily written off as generic, but you have to smile at the irony of lyrics like “Bet you on land, the understand. That they don’t reprimand their daughters” and the use of puns like “bright young women, sick of swimming, ready to stand”. And all this is within the first fifteen minutes.

             

And this film is not long. In typical in and out form Disney wraps it up in below 90 minutes, making you wish it was longer but satisfied nonetheless.The film is definitely flawed, but who looks at Disney films to unearth some deeper psychological moment. Never during the short time do you question the reality of the characters plight. Your feelings do not waver, and male or female you do feel 'nice' when Ariel grows her legs. Poor girl though, if she only knew. Being human ain't all that it's cracked up to be.