Johnny Simmons

Regardless of if my appreciation for Glee ever peters out (which at this point seems unlikely) I’ll always be especially grateful to them for two things. One, was ensuring that after the untimely cancellation of Pushing Daisies allowing Kristin Chenoweth to return to the tube to show us just why she’s so brilliant – and the second is bringing Idina Menzel to the small screen in a role which managed to show that she was as good an actor as a singer. In its ideal form Glee is the sort of veritable playground for any Broadway actor and although guest stars don’t definitively improve the quality of the episodes – I’d love if this quintet of ladies from the Great White Way would get featured on Glee (I’ve featured some of them before in my original From Stage to Screen Post).

 I suppose, in reality, there’s little chance of this coming to fruition since Krakowski is continuing her hilarious stint on 30 Rock where she continues to be the best-in-show. Still, the very basics of Glee seem perfect for Krakowski’s own brand of strange and sultry humour. With her very blonde hair she seems like a perfect candidate for some subplot involving Sam or Quinn, but she’s probably too old to be Quinn’s sister and unless Sam was a teenage birth she’s probably too young for that – although, who knows what they’d decide to do. I’ll always be grateful to Tina Fey and company for allowing Jane to actually perform somewhat regularly on the show, so it’s not like she’s being robbed of the chance to showcase her talent – but you can’t deny that her brand of crazy would work perfectly at McKinley High.

                               

As good an actor as Audra McDonald is, her voice is just sublime. It’s almost offensive that she’s never done any singing on any television show – Private Practice doesn’t deserve her most of the times (not that they deserve Kate Walsh, either – but I digress). I’m sort of stumped as to how Audra could fit into the fabric of Glee. If it weren’t for Cheyenne Jackson (who hasn’t even had a significant plot-point thus far) I’d think she’d be a great successor to Idina’s Shelby – original director of Vocal Adrenaline. What’s so weird about her is that you don’t think she’s a natural comedienne (she’s probably not) – but she’ll always surprise you in dramatic moments with some weird choices that always end up being humorous. I don’t know how, but I want her on Glee.

If Tangled was good for anything, other than the occasional vaguely entertaining tune from Alan Menken, it was reminding me how great Donna Murphy is. It’s probably because I associate her most with the very dour Passion that I forget that she’s a great comedienne (which manages to emerge even on an album recording of Wonderful Town). It’s that broad comedic talent of hers that would make her a perfect choice for a nemesis to Sue. Really, there’s no telling how they’d get her to sing but if there’s anyone that can take down Jane Lynch it’d be Murphy.

Honestly, I’m sort of surprised she hasn’t turned up on Glee as yet. Before the idea of Carol Burnett (which turned into perfection) was pitched I’d contemplated the idea of Peters being Sue’s mother. Now, I’m sort of stumped but whatever role they do give her she’d be remarkable. With all these children in the club, at least one of them has to have a crazy – potentially boozy – grandmother. It’d be a stroke of genius if they get Peters to tag along on an episode with Chenoweth (I still think the two are reincarnations of the other). Perhaps the idea of Peters as April’s own boozy mother would be a sort of perfect idea. That I’d love to see.

Two words: Santana’s sister. Sara Ramirez is brilliant, and she’s constantly doing good things with occasionally middling writing on Grey’s Anatomy (I’m still a vague fan of the show, truth be told). It’s watching the clips of her in Spamalot that make me realise just how vociferous and passionate she can be – they always make Callie a beat too sedate. Wouldn’t it be great seeing her play opposite Glee’s own resident crazy Latina? I can already imagine her – in typical Santana fashion – trying to seduce Will Schuster.

                              

First up, Lea Michele and Chris Colfer in the best duet in the episode "Duets". I still wouldn't call myself a fan of Kurt, but this is lovely.

Then there's the absolutely resplendent Audra McDonald teaming up with Patti Lupone. I don't care for Patti, but Audra is amazing and they song brilliant together.

And of course, the iconic original - Barbra and Judy.

Okay, as you were (Good morning).

It’s probably not the actual story, the musical "110 in the Shade" (an underrated score) has a nice enough book so I can only assume the actual production is good. When I look back on it I’m not certain what it is – precisely – that makes this my least favourite film of Kate’s, but as soon as the title I knew the film for the task was The Rainmaker.

Kate’s Lizzie Curry is not the eponymous rainmaker, though it would be correct to call her the protagonist. Lizzie (Lizzie, I stress, not Kate) is a homely spinster – an old maid, if you will. She doesn’t seem to have a future in love, and neither does the divorced town sheriff. Her town is the usual nondescript country one, except that it’s painfully hot. The rain has not fallen in months. A rainmaker, yes literally, is passing through town and promises rain if he’s paid $100. His interest soon diverts from filling the town’s literal drought to Lizzie’s metaphorical one. Thus, a dilemma arises. Does Lizzie acquiesce to the advances of this potential swindler or does she accept a potentially nondescript, if safe, life?

              

Really, the The Rainmaker’s plot seems like if it’d make for a great film. And the result is NOT disastrous (C+, perhaps even a B-) it’s just very tame. I’m resentful, yes indeed, and I’m often moved to put the bulk of the blame on Burt Lancaster. I’m not too fond of him (with Deborah, with Jean, with Elizabeth) and he feels off as the would-be charming Bill. That being said, Kate’s wrong for the part. Of her twelve Best Actress nods it’s easily her least distinguished (I’ve said that before). I don’t particularly dislike her in the part, it’s just sporadic and with the stories of the off-screen drama at work it shows at time. It’s not that she can’t play standoffish spinsters (hello!) but it just doesn’t mesh. God knows why. I’ve listened extensively to Audra McDonald in a revival of "110 in the Shade", the musical from the show and I still think the story has potential. That could be a good movie…I suppose.

                

You know I’m enamoured with Kate, so the fact that this is my least favourite meeting with her * doesn’t mean that I wouldn’t watch it. Come on, any Kate is good enough for me.

                   

This is all part of the ongoing MEME

       

*(Love Story, Kate’s final film, stars the power-couple Annette Bening and Warren Beatty. An adaptation of Love Story - which is the inspiration for An Affair to Remember - it’s good at times, oftentimes not so good, suffice to say worse than The Rainmaker. At times Kate herself seems embarrassed to be there, but she’s playing an extensive cameo at best. It’s not her film, so I’m not certain it applies here.) 

I don’t know why this question didn’t appeal to me, I don’t feel like writing on any of the few miniseries I’ve seen (really Angels in America does little for me outside of Emma Thompson). The thing is I’m writing about two shows, for entirely different reasons…well almost. The thing that always strikes me about films on television is how ignored they are. See, if it weren’t for my rebelliousness then they wouldn’t have been featured on this meme. I’m focusing on two films, one I consider to be the best Iraq film even though it occurs a decade before any ostensible moves for war was made. It is also one of my favourite movies. The second – though faulty at times – is what I consider to be the greatest adaptation of a classic play. Here they are, in reverse order.

A Raisin in the Sun (2008)

I was interested in this before any signs of a film were imminent. You know how angry I get about my lack of exposure to Broadway…and the Broadway revival of A Raisin in the Sun with Phylicia Rashad, Audra McDonald and Sanaa Lathan. So when ABC (sometimes wise, sometimes not) decided to bring it to the television. I was elated…I watched it the night and I was doubly impressed by everyone but Sean Combes (what’s his alias now Poofy, Puffy, Diddy, Daddy, PD…) who I was just glad did not obliterate all the goodness of the rest of the cast. In fact were it not for Combes this incarnation would be twice as good as the excellent film adaptation with Mr. Poitier….I don’t know why someone like Don Cheadle could not have gotten the role (but who am I kidding, Combes is a big name)…but in all other aspects the film towers above past incarnations. Reel Whore paid some attention to Sanaa a few weeks back, and I wondered why this woman isn’t getting better roles. I’d like to believe it’s more than the stock answer that she’s black…is it really that simple? Sanaaa is too old for the role of the irrepressible hell raiser Beneatha, but you’d never know watching her here. It’s more than Beneatha being irresponsible at times and Sanaa knows that.

              

Watching her play against Rashad as her mother is lovely. Always known for her quietness Phylicia puts it to good use here turning Lena into a lovely creation that’s still flawed enough to be believed. She really is all you could hope for in the character of sedate Lena Younger. But, in a film boasting a trio of excellent female performances it is four time Tony Award winner and double Emmy nominee Audra McDonald who gives the the film’s best performance. She is more Lena’s daughter than daughter-in-law and the rapport between her and everyone around her is exceptional. A pivotal scene (not from the play) where Ruth attempts to have an abortion is played out excellently as Audra utters not a single work but still manages to exude all we could hope for. Really, A Raisin in the Sun is something lovely to watch…with a cast of principally black actors it is credit to the play and to the talent (even Combes).

                

Live From Baghdad (2002)

Helena Bonham Carter is an actress who constantly amazes with her eclectic talent. Live From Baghdad would rank as one of my seven favourite HBC performances, even though she is not the lead (only a strong supporter). Michael Keaton (at his best) plays Bon Wiener a journalist who gets sent to cover the rising conflict between US and Iraq in the very early nineties. Bonham Carter’s Ingrid Fromaneck is one of his journalist allies. What makes Live From Baghdad so excellent is the fact that it defies labels. It’s natural is more humorous than many “comedies”, it’s honesty is more intense and dramatic than many “dramas” and though it never reaches a war it touches more on the issues of war more than many “war films”. In short – it is what I consider to be one of the strongest contemporary films and one of the best films of the decade (TV or otherwise).

          

Backed my an excellent supporting cast Live From Baghdad points now fingers, and it tries to wrongfully implicate no one - in that way it is like journalism, it doesn't take sides. But it's humanistic too. Each of these journalists have their issues and David Suchet gives a subtle performance as an Iraqui minister managing to hold his own against Bonham Carter and Keaton. Truly, HBO would have done well to release this on the big screen...

           

        

Nothing much to say, just highlighting the two polls I've added to the sidebar. I decided I'd put two so there's one for everyone. Since the Period Film poll was not such a hit. My best friend tells me that I'm too elitist in my film choices and I need to become diverse so that more persons will be interested in the blog. So I'm throwing it out at you...which film [cringe] do you want me to review. I'm seriously worried you'll throw out something I never want to watch, but I'm being proactive. Do your worst.

And while I'm here. I've been thinking about this movie [and song] recently. But I also included another version. No it's not blasphemy. But it's always nice to hear someone else's take on the song...

I've been thinking about Audra McDonald a whole lot recently. She's my current celebrity wife. Yes, she's too old for me, and already married but when has that stopped me before? In case you don't know [and shame on you if you don't] Audra is a four time Tony winning Broadway superstar currently starring on ABC's Private Practice... an imperfect show... but all the better with Audra in it. She needs to get a good script and a great director and make her big screen debut. She had all the chops of any film actress right now, she's charismatic and she's gorgeous. But let me stop raving...

She got an Emmy nomination a few years back for her work in A Raisin in the Sun... but her voice is just amazing... so take a gander. What do you think?