Johnny Simmons

I wasn't planning on posting an episode of Scene on a Sunday today, but I've had this drafted for a while and thought, why not? It's a bit tough coming off the Atonement entry which you all seemed to love because of Yojimbo's many screen captures. Only 12 for this entry. I've expressed my love for Shakespeare in Love before and this short scene is particularly nice. We've seen only a few shots of Paltrow thus far enjoying the plays at the palace. We meet her now for the first time. The shot opens with a gorgeous shot of the house.

 

Shakespeare in Love easily notes the richness of our heroine, and though it's Wessex's reason for marrying her it's never made an issue out of. Of course this is because it's the Elizabethan era and our characters have bigger fish to fry - Shakespearean fish. I just love seeing Paltrow in this mode, though. She's so personable and has such a beautiful lilting voice.

In case we don't already know, she's speaking of The Two Gentlemen of Verona, one of Shakespeare's earlier comedies. It's a fair pice, though nowhere near his best (of course Viola will quote a beautiful soliloquy from it later) but Viola is almost like a "groupie" for Shakespeare and she's so caught up in the "poetry".

And on that note can we please discuss the brilliance that is Imelda Staunton here? Why does no one remember her excellent comedic timing here. She's not even "acting" like you'd expect, she's so completely in the character and refuses to play it prosaicly. The relationship between her and Viola is lovely, even if they really are speaking over each other.

She's referring, naturally, to the custom of men playing women and her annoyance is palpable. I don't think of Paltrow as particularly physical in her acting but she's acting with her entire body here. Notice how she slumps her shoulders just slightly, so impassioned about something like the injudicious lot of a badly played Sylvia. She really is a fan of "Master" Shakespeare.

I wish you could hear how she delivers this line. Her stress on the word "boys" is a nice slight touch. Her brilliance here is often forgotten, even  I sometime forget that she really did a fine job. And there's more going on in that shot. Like the Nurse cleaning Viola's ears for her, and the obvious dynamic of the servant/mistress that still manage to attain a personal bond - very Shakespeare. The two will soon have a slight banter about Lord Wessex. Viola of course will have none of the Nurse's suggestion. Marry Lord Wessex? A pox on Wessex!

The words are lovely, but you must give Gwyn credit for pulling off the trueness of the period. And, as always, the Nurse is not far behind to ask her: Like Sylvia and Valentine?

 

Love that portion. viola is so enamoured with the postures of love (even if she doesn't realise) and Staunton is ready to inject wisdowm without being condescending about it. She is, after all, paid help and with almost no life of her own. Yet, she continues to be so devoted to her charge and never sinks into self pity. Her line reading there is precise, but never pitiful.

Her earnestensss is so infectuous, how can anyone root against this lovely woman?

When I became au fait with the internet, and the large backlog of arguments concerning the Academy Awards “horrible” decisions Shakespeare in Love was one of the films that always popped up. Its name preceded it, and I didn’t see it until I could carefully explicate all the arguments against its shocking Best Picture. I had seen both Saving Private Ryan (which it “robbed” of Best Picture) and Elizabeth (which it “robbed” of Best Actress). So I saw it. As a staunch Cate Blanchett fan I was still convinced that she was incomparable as the Queen (more deserving than Palthrow who was admittedly excellent, too) but I was nonplussed as to the arguments bemoaning its Best Picture win. For, when it comes down to the argument as to which film deserved the Oscar in 1998 – I am firmly in the Shakespeare in Love camp. You can quote me.

The romantic comedy – the phrase is indicative of so much today. Even though other genres (example, drama) still manage to mete out a good romance every now and then, the good and original romantic comedy has become less and less and common. Shakespeare in Love is often referred to as another billowing period piece that Oscar fell in love with, and I’m always bewildered as to the claim. If American Beauty represents the recent Oscar flick most in tune with the time it represents, Shakespeare in Love represents the most irreverently out of its time and yet still within; a paradox of course. We’ve all been forced (I was willing, though) to study Shakespeare and the connotations of any Shakespeare play are obvious. The usual words – boring, cumbersome, indolent etc. What Shakespeare in Love does (and good grief, it does it excellently) is take the man we’ve become so remiss about and turn him into something that is in keeping with its time, but still accessible to our time and all without being anachronistic. Take away the corsets, take away the Queen – and Shakespeare in Love is still a completely enjoyable romantic comedy; but one with brains. This is because of the excellent script by Marc Norman and Tom Stoppard. I am hard-pressed to find any Best Picture winner in the last two (even three) decades that is as highly quotable, and not just because of the references to “Romeo & Juliet”. Norman and Stoppard are able to do something that would sound blasphemous; they mix their own prose with that of the Bard and makes it sound just as excellent. Their imagination is expansive as they use Shakespeare’s own quotable quotes as incidental conversation. But, I’m getting ahead of myself. It’s not just they who makes the film works, it’s the actors.

                   

I recently cited Shakespeare in Love as having the best ensemble cast of nineties, and it’s a claim I believe wholeheartedly. Just as Shakespeare gave the smallest character a host of witticisms, the writers here do the same. Geoffrey Rush, Tom Wilkinson and Ben Affleck are stuck with roles that shouldn’t be so good, but the great words coupled with their complete understanding of their characters (the tics Wilkinson adds to his money lender are amazing) are thrilling to behold. Colin Firth has never been so despicable (not even in that other Best Picture winner) and Judi Dench in a matter of scenes creates a character to be extolled. I’m perfectly fine with her Oscar win. She deserves it only for her line reading of “Mr. Tilney have a care with my name. You’ll wear it out.” But it’s more than her line readings, she shows emotion in her character when you least expect, and it’s not jarring just authentic. If I must speak of the (supporting) cast of Shakespeare in Love I must pinpoint Imelda Staunton who has unfortunately turned into a forgotten character. It’s (arguably) the smartest allusive move from Stoppard. Imelda scintillates in each of her scenes, and she is given as much importance (and humour) as the original Nurse of "Romeo & Juliet" was given. Still, of course, these excellent players are only incidental when we come to the root of the film – William and Viola.

               

Yes, I do believe that Cate should have won the Oscar, but that doesn’t make Gwyneth’s contribution any less excellent. For an actor who’s always thrived on the (sometimes annoyingly) subtle, Gwyneth evokes a memory of old Hollywood with distinct ease here. Am I the only one reminded of ladies like Katharine Hepburn, Irene Dunne or Rosalind Russell in their youth? As Viola skips through the film, changing from male to female and back again, you can’t help but be arrested by her. Her innocence is her key to the role as we notice how her voice breaks just a little as she asks “Are you – are you Master Shakespeare?” or the profundity with which she utters those lovely monologues or the newer lines like “This isn’t life, Will. It’s a stolen season.” True, you can see her ACTING sometimes, but it works in context because Viola is a mere player, and she’s so honest that you can’t help but be charmed. Still, no one comes close in skilful excellence to the eponymous Shakespeare. I have a longstanding bone with the Academy because of their egregious snub of Fiennes who gave one of the best performances of the decade. The film depends completely on his performance. He knows to play the comedy, even the slapstick portions. However, he also knows to rein it in for the quieter moments. His moments with Gwyneth never come off as ordinary –  even though it should be clichéd...(and about that sex scene...) More than anyone in the cast, he knows how to use those lines to his benefits and he gives the best reading of lines in the film. ‘Tis a pity we’ve not been privy to more of him on the screen.

 

In the end Shakespeare in Love represents one of the most enjoyable films I’ve seen (Oscar winning or not). It’s smart, funny, romantic and just beautiful to watch and it does it all without pandering to stupidity or being condescending to the audience. Would I call it perfection? I don’t know. Maybe. But it doesn’t matter. It doesn’t matter what I call it, it’s still #28 on my list of favourites and it’s still exceptional. Or do you disagree?

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,