Johnny Simmons

The first Michelle Pfeiffer movie I saw was The Witches of Eastwick…the first time I became infatuated with her was with One Fine Day. Admittedly, it was a bit of a vicarious appreciation. My sister, who is not necessarily a cinephile, would always say One Fine Day was her favourite film and single out Michelle as her favourite actress and over time I just got into the habit of doing so too. I recently watched One Fine Day (after re-reading the book) and it’s still as charming as it was – more so probably – than it seemed to me as a child. It’s a day in the life of two single parent divorcees – George Clooney and Michelle Pfeiffer. The two become entangled in each other’s lives over the course of a fateful day that will of course end nicely.

“Sweet” would probably be the ideal adjective to describe One Fine Day. Maybe it’s because I’m a child of the nineties and I have my own predilection to the decade (come on, the nineties were good) but One Fine Day strikes me as so smart and unforced I’m not sure if the romantic genre has regressed or if my appreciation is clouded by nepotism – perhaps it’s a bit of both. The thing is, I’m usually nonplussed when it comes to the eons of charm George Clooney is supposed to exude. Well, for obvious reasons, I’m impervious but I’m usually unmoved by him. Truly, One Fine Day is Michelle’s show but George’s easiness makes his story as satisfying as hers. Of course, it would be a disservice to talk about the film without mentioning Mae Whitman and Alex D. Linz – the two child actors. The latter does seem to have the upper hand with characterisation, as Michelle's son, but both turn in pleasant performances that improve the film.

We only have a day for the most important blocs in the lives of our leads to be solved, so One Fine Day must resort to (subtle) trickery to tie up the loose ends. There’s a sweet (that word again) moment towards the end where Pfeiffer is at an important meeting while Linz makes faces against the window pane outside. Perhaps the result is unrealistic, who knows, but even in something as “trivial” as a romantic comedy Michelle is always ready to emote. Her inner struggle doesn’t bog the film down and it’s a nice indication of the issues single parents have without being too on the nose about it. It’s not a judgment on working mothers when Michelle makes her inevitable decision. One Fine Day works so well because it’s not trying to suggest any larger than life themes. It’s just a simple film about a man and a woman (and a girl and a boy). I get nostalgic when I think about One Fine Day and its unavoidable happy ending is real enough to be winsome and not maudlin. Sure, I’ll see it for Michelle Pfeiffer but it’s good for other aspects too. 

        

What do you think of One Fine Day?

I'm never quite sure what's the issue people have with Madonna, but I'm always  a bit naive like that. I know that there's no coincidence in the fact that Madonna's two good performances on the screen both revolved around a singing starlet of some sort, but looking at it from this angle belies the talent that she has - yes, talent. I'll admit I'm a big fan of the lady in all her androgynous/controversial/over-exaggerated appeal. 1996 was a good year in film, and its Best Actress lineup stands up as one of the best of the decade. Still, I say it without guilt Madonna deserved  a spot in the lineup. Evita is essentially a showcase for Madonna, but there's a moment in "I'd Be Surprisingly Good For You" when she bats her eyes at Jonathan Pryce in that way that only she knows how, and I'm convinced that this woman is amazing.

            

The biggest story about Evita is the one about Madonna stealing the song "Another Suitcase In Another Hall" for herself. It always amuses because it's one of the wisest decisions the films makes. I can only imagine what a fearsome thing to behold Patti Lupone's Evita must have been, but Madonna has a natural sense for softeness juxtaposed with harshness that makes her Eva Peron a much more believable woman - and dare I say sympathetic. Madonna is glamour epitomised, but I'm always willing to believe in the cadence of her earlier self in numbers like "Buenos Aires". Madonna (the star) has adopted England as her second home, and I don't doubt that she could understand just a little about Eva's perilous journey. 

The English Patient is one story that occurs in nonlinear format – on one side Count Almásy (Ralph Fiennes) along with his “International Sand Club” explore the deserts in the prelude to World War II. As we learn more about Almásy and his relations with married woman Katherine Clifton (Kristin Scott Thomas) we see The Patient (Almásy) after being disfigured by a horrible plane crash. As the wife of our heroine Firth makes his first appearance as he joins Fiennes troupe with his wife. We immediately see that he is quite devoted to her, even if he is a bit ingratiating. The film is a love story between Katherine and Almásy but it never tries to make Geoffrey into a villain – though he is not perfect. There is a scene towards the middle when he realises the affair on the night of their anniversary, it’s short and he does not have any lines but Firth handles it well. His involvement in a fatal plane crash towards the end angers the audience, but we don’t lose sympathy. As beautiful as it is to watch Katherine and Almásy we realise that for all his faults Geoffrey’s is dedicated to his wife and the pain that he feels at her betrayal is palpable. Of course, it’s no wonder that the character is forgotten since he’s not the romantic lead, but having yet to see A Single Man I single this out as my favourite performance of Firth.

I’ve always been more than a little fond of Roald Dahl, even when I was young and thought his name on the books were typographical errors. He’s one of the most inventive writers for children –and adults – and it’s not difficult to see why his films have often been adapted for the screen. Last year Wes Anderson’s wonderfully smart Fantastic Mr. Fox was a hit and we’ve seen two good adaptations of Charlie & the Chocolate Factory – but the greatest adaptation of a Dahl film is one that is often taken for granted, it’s also one of the most ingenious animated flicks I’ve ever seen. A masterpiece in my opinion was 1996's James & the Giant Peach.

                                              

James is an orphan who lives with his two hideous aunts – in nature, and in looks and when a peach in the garden grows to unbelievable proportions he experiences a wealth of magical incidents in it along with a troupe of quirky and endearing animals. I have vivid memories of seeing this as a child and if you thought Selick’s Coraline was quirky and mystifying then you should see James & the Giant Peach. The world of the peach is both alluring and terrifying. It’s a true feast for the eyes, clichéd yes, but accurate. And like all works of animation, the voice work is an essential. Susan Sarandon’s enigmatic Spider remains as a favourite of mine, it’s animated to perfection and her charming voice only amplifies the mystery of the peach, Miriam Margolyes and Richard Dreyfuss also turn in notably good (voice)work.

                         

The story is, I suppose, the usual coming of age film. James is a beleagured child and his (sometimes dormant) thirst for a change is understandable and moving in its own way. Much like Coraline it takes an otherworldy experience for the child to "find" himself, though this is certain not a cautionary tale. Thematically James & the Giant Peach is difficult to pin down. I can't be certain what message it is that Burton and Selick (or Dahl for that matter) want us to leave with. But the important of "messages" has become too much. James & the Giant Peach offers a fresh look and childhood with some incredibly witty dialogue.

                  

Selick is a connoisseur of children’s cinema and he is notorious for blending the dark with the youthful. This interpretation of James & the Giant Peach is a quintessential example of childhood. It seems bizarre on the more superficial of levels, but beneath the repulsive slugs and bugs and underneath the obvious idiocy of a travelling peach there is a whole lot of heart in this story and luckily Selick was able to translate that to the screen intact. This film would be a wonder to any child, and as we grow older and it all comes into perspective we realise that it’s also a wonderfully insightful film that’s for the child in each of us. It’s the #52 on my list of favourites.

It really is difficult making a list of your favourite films, especially when it’s a hundred of your all time favourites. I’m feeling a little nostalgic though and I want to give you a look at four films that are not in my top 100 of Personal Picks but are good nevertheless. If you haven’t seen them as yet [and shame, shame, shame if you haven’t] go and see them. And if you have seen them, look at them again. Or not.

Elizabeth (1998) – Cate Blanchett, Joseph Fiennes, Geoffrey Rush [B+]

This movie was the first Cate Blanchett film I saw, at the time I didn’t know who she was – I didn’t even know the name of the movie. I’ve always been interested in Queen Elizabeth I, and I don’t need to say that Cate was outstanding in the role – but I will anyway. This is my favourite film – big screen or small – on Queen Elizabeth. Of course quite a few liberties were taken with the plot, but that’s film for you. This is actually one of the reasons that it’s not higher on the list – then of course there was that sequel... But we’ll not speak of that, either.
Why You Should Watch – I’d recommend this film for anyone who wants to see where Cate Blanchett started. It was her first major screen role and she earned her first Golden Globe (and Oscar nomination) for it. It also features good performances by Geoffrey Rush and Joseph Fiennes. And it’s just a really good film. The script is nice, but it’s not indulgent like recent films like this have been (The Duchess, comes to mind). Indian Director Shekhar Kapur does a good job in managing the cast, and of course the costumes and art direction are worthy of mention.
Favourite Scene – A few come to mind, but my favourite is the ever popular one where Cate rips her subjects a new one with her whole I am no man Elizabeth’s speech. Total immersion of character and though I loved her in Bandits and The Lord of the Rings, it wasn’t until The Missing that I didn’t think Cate Blanchett was a cold hard bitch. Love her though. Absolutely love her.

Jerry Maguire (1996) - directed Cameron Crowe [A-]

I’m not really a fan of Cameron Crowe. He’s a good director, and his movies are good – I mean, Almost Famous was a well made movie – but it won’t be on my list of favourites. I have absolutely no desire in seeing it again, which is essentially what makes a film a favourite. Jerry Maguire is my favourite Crow film; it’s a really good film and features Tom Cruise at his best (says me). Renée Zellweger is not bad either.

Why it’s Good – Scripts are important to any film, but I always feel that in romantic comedies it’s a make or break situation– and the script here was terrific. Who can forget the legendary – you had me at hello? Not me. I still can’t believe this film made it to the Oscar top 5 though, but I didn’t mind. This is probably the only movie I liked Cuba Gooding Jr. in; okay this and As Good As it Gets, but I don’t really like that movie generally (Helen Hunt – I blame you!). Who can forget – show me the money! Priceless. This movie also has Regina King in one of her earlier roles. Wasn’t she to become a breakout star in 2004? What with Ray and all that? Casualties of Hollywood, I suppose.
Favourite Scene – Weird, but I like the scene where he gets fired. And how poor little Ms. Zellweger is the only one who’ll go with him. It’s sad and funny all wrapped in one delightful scene.

The Ten Commandments (1956) - Anne Baxter, Charlton Heston, Yul Brynner [A]

They show this movie EVERY Easter on TV in Guyana. I have probably seen this movie like 50 times. What a cast Charlton Heston, Yul Brynner and the delicious Anne Baxter. I used to have such a crush on her Nefretiri – how demented is that? Who the hell am I kidding? I have such a huge crush on her. It’s quite long, but if you haven’t seen this because you were under some stone for the whole of your life, take a look. It’s a good movie, somewhat romanticised, but isn’t that why we love it?

Why it’s worth It – I never saw Around the World in Eighty Days, but I am certain it was no where as good as this film. Snubbed for the Best Picture win it did win the Award for Special Effects though. Why wasn’t any of the cast nominated for this? I can’t remember what the lineup looked like that year, but the three top stars all gave Award worthy performances. Of course all three HAVE Oscars and strangely enough Anne Baxter is the only one playing a different role than usual. Heston and Brynner just played variations of Moses and Rameses in The King & I, and Ben-Hur. But it’s all good. They're classic film stars, so they're forgiven.
Favourite Scenes – God, there’s so many. I have three. I love the final Anne Baxter scene – do you hear laughter Rameses? – that line gets every single time. She was just a major bitch, but she has a heart as we saw in the scene where she begged Moses to spare her child. Good acting. And the scene where she begs Moses to spare her son is beautifully done. She is a great actress but in a time when Hollywood was wrought with vampish Brunettes she sort of got overlooked. Oh well, she’ll always be Eve Harrington/

Favourite unimportant scene – the one where the seven sisters find Moses in the well, it’s just so sweet and nice. Funny – but not hilarious.

Well there you have it. Three films to revel in. They’re all good to varying degress and I do love them all. But which ones do you really love. which ones do you just hate. What’s your favourite scene. Come on shout it out,