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Showing posts with label Barbra Streisand. Show all posts
Showing posts with label Barbra Streisand. Show all posts
Sunday, 24 April 2011
Monday, 10 January 2011
Music Break [...with Chris Colfer, Judy Garland, Patti LuPone, Audra McDonald, Lea Michele & Barbra Streisand]
0 comments Posted by 2011 at 06:35I’m feeling fairly out of it today, so what’s a better antidepressant than good music?
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).
Friday, 7 January 2011
With the news of Barbra Streisand’s potential return to acting and directing now is as good a time as any to dip back into her history as a director and I don’t think there’s any place better to do that than with her 1992 Best Picture nominee The Prince of Tides. Adapted from Pat Conroy’s novel – which I have not read – the film takes a look at Tom Wingo, a typical Southern man with a typically troubled Southern past. If forced to put it into a box, the genre of family drama would be most apt for the tale though such a hackneyed title would belie the earnestness with which the film plays out. As a book to film adaptation The Prince of Tides is notable for inciting criticism from fans of the novels who were not enthusiastic about the shifting of the main plot from younger Tom to older Tom – because, god forbid a novel take licenses with adaptation.
Barbra's Yentl is an auspicious musical of the eighties and her The Mirror Has Two Faces is amusing in its over-the-top ridiculousness but it’s this straight drama of Tides that really encapsulates her talents for direction. If you watch closely the three films on a loop you’d noticed her sensitivity to emotion but not histrionics. I smile at the almost dour browness of the mise en scène. Despite the lack of obvious beauty in the colour brown, there’s something soothing about how it blends it with everything and it’s the same with The Prince of Tides. It can never be accused of being especially inventive, but there’s a soothing nature about Streisand and company take the usual machinations of familial drama and makes it interesting to watch. At first glance it seems like something akin to nepotism having her as the lead (the role sort of screams out Sigourney Weaver) but Streisand is a strong actress and she shines especially bright in the latter half of the film.
If there’s one thing I’d praise Streisand for effusively in The Prince of Tides, although I’m not sure how much she’s responsible for it, it’s the uniform goodness of the performances. Nolte’s Oscar nominated performance is a treat, but it’s watching the supporting women on the side that’s the real prize. Kate Nelligan turns in a brilliant turn as Nolte’s mother, and Melinda Dillon’s fragility is acutely played but it’s Blythe Danner as the potentially estranged wife who I never forget. Her performance is so subtle, but lovely to watch and always makes me a bit sad that Danner never “made it” as a film actress. Watching Streisand elicit these type of performances without ever being insincere makes The Prince of Tides one more than worthy of estimation, and it’s a real shame she failed to garner an Oscar nod for Best Director – even if the film earned a picture nod. There’s no telling what, if anything, will become of Gypsy, but I have faith in Streisand – as a musician, as an actress, and as a director.What did you think of Barbra's work in The Prince of Tides?
Friday, 22 October 2010
If you’ve been paying especially keen attention you’d know that I’m not the biggest fan of Gene Kelly. I think I’ve called him overly precise, and I won’t deny that some of my lack of interest centres on the fact that I generally loathe An American in Paris, but I’m digressing. If I had to pick a favourite Gene Kelly movie, it’d be one that he’s not even in – Hello, Dolly! I have a vaguely embarrassing love for Hello, Dolly! even though Nick despises it (oddly enough, I agree with an oddly large portion of his review, and I love it – go figure). Hello, Dolly! is based on a Broadway Musical which is in turn based on a Pulitzer Prize winning play – “The Matchmaker”. Its plot is simple, painstakingly so. Dolly Levi has been a widow for some time, and occupies her time by arranging things. She has her sights set on Horace Vandergelder who in turn has his eyes on Irene Molloy – a milliner. Horace is the guardian of his niece Ermengarde (what a a name), who’s in love with a starving artist of sorts Ambrose. Dolly pretends to set Horace up with Irene, sending him off to town.; though she's really trying to to put forth her own agenda. She in turn convinces Ermendgarde and Ambrose to go to town, along with Barnaby and Cornelius - two of Vandergelder's workers. All in all it's a musical clusterf*** of a situation.
The thing is, Barbra Streisand is (in theory) all wrong for the role. She’s about three decades too young for the role, because there’s no way that Barbra (two years after Funny Girl) is an aging widow of how many years. But, really, I don’t even care about the age thing, or the obvious lack of chemistry with Walter Matthau (we all know that Jack Lemmon was the superior member of The Odd Couple). Barbra can act and she can sing, but above all else – she can play funny, and that’s what so brilliant about her in Hello, Dolly!. It’s just one constant torrent of funny bits and she sells them excellently. With the exception of Matthau, the cast is quite good but Barbra steals the show.
Really, Hello, Dolly! doesn’t make much sense. The story is one of those ridiculous comedies that thoroughly amusing in its inane way, and I like that about it. It doesn’t have the strongest score (and the title song is oddly weak), but it’s well directed (yay, Gene Kelly) and well acted (yay Barbra). In fact “Put On Your Sunday Clothes” just may be one of the strongest ensemble musical numbers of all time. It has the sort of quotable quotes that make you roll your eyes and laugh and still think about their lucidity (case in point: “”). At its worst Hello, Dolly! is a kind of riduclous bauble; at its best Hello, Dolly! is easy watching – and I like to think of it at its best.
Ever seen the 1969 classic?
Monday, 27 September 2010
I really am busy...grrrrr, I'll be back soon....
Tuesday, 31 August 2010
It’s a nice note to end the meme on. Confession: when I read the challenge the first image that popped into my head was this.
I know, I KNOW! More from Titanic and it’s not even a real moment – yes, but I’m right there cheering on. Well in my mind.
There really are so many moments when I’ve felt that vicarious thrill when cinematic characters finally get their acts together. As much as I love Anne Baxter in All About Eve I can’t resist cheering George Sanders on as his Addison DeWitt has way with her (hitting a woman is wrong, but not when she’s Eve Harrington).
Or how about Kate’s Christina Drayton telling off her racist worker? "Don’t speak just…go!"I find myself ecstatic when Ethan's degenerate of sorts manages to make his getaway at the end of Gattaca or I’ll pretend I’m part of the audience when Will & Viola complete their performance of Romeo & Juliet in Shakespeare in Love. The thing is nothing gets more cheers than brilliant ends and performances…so naturally an ending that IS a performance gets double the cheers. And when it’s Baaaaaaaaaaaaarba? Who can resist?Yes, that gets a big whoopee from me….and so the MEME ends. Sigh.
Sunday, 11 July 2010
As far as sixties musicals go Hello, Dolly is too often forgotten. Just a few year after Streisand's debut in Funny Girl she is decades too young for the role of the personable widow with a penchant for minding everyone's business, but with all its clunky plot points I still think it's a whole lot of fun. Streisand is no small reason for that. "So Long Dearie" doesn't resonate as much as softer numbers like "Before the Parade Passes By", but it's one of the most hilarious cinematic musical numbers I've seen. Enjoy.
Sunday, 20 June 2010
I can’t say that I love Andrew Lloyd Webber – sure he has my name (or I his) but generally I’m wont to loathe the man. Still, he has his moments (name Evita and Sunset Boulevard for me). Wilder’s classic doesn’t seem like the usual film to spawn a Broadway production…but the music is lovely at times. Particularly this excellent number, "As If We Never Said Goodbye". It's a love song to the movies really, as Norma sings to the cardboard trees and painted seas of the studio she loves...
Elaine Paige is such a good singer, and here's what she does with it...
And Ms. Streisand puts her own stamp on the number. What a voice on that woman.
And here is the excellent Glenn Close in full costume singing her rendition (for the role which won her a third Tony Award).
I wonder if they’ll ever get around to that screen incarnation of the musical...
Monday, 14 June 2010
suppose that really this is one desperate song...in a way, but who wouldn't like to be serenaded like that?. But then, Funny Girl is so very lovely and it is Baaaaaaaaaabra. So, enjoy.
Saturday, 15 May 2010
I remarked a few months ago that I’m a fan of the 1968 musical Funny Girl. Sure the plot gets a little plodding at times, but Barbra Streisand is a delight in it. The thing is, Omar Sharif’s performance is often forgotten – understandably, I suppose, but still. A scene I often think of in Funny Girl is not one that people turn to immediately when they remember it, but in its way it’s a beautiful piece. Fanny is now getting close to Nick and she’s invited to his home. Fanny is still an impressionable young girl, and Nick is a man of the world. She doesn’t even realise that he plans on seducing her until he actually starts singing.
He begins -
You are woman! I am man. (the name of the song)
Streisand is a comedian at heart, even though her dramatic turns are good it’s the comedy she always plays with such alacrity. I just love the expression on her face her, it’s exaggerated (as much is throughout this scene) and it works because that’s who Fanny is.
We don’t usually see Sharif like this, but the role is tailor made for him, he just has to look good and make us believe that Streisand’s Fanny would be enticed by him. It’s no tough job for him, but that doesn’t make it any shoddier.
You are softer to the touch,It’s a feeling I like feeling very much.
You can almost see Fanny breathing, as she gets tense under his touch. Fanny is such a inexperienced girl and Streisand’s plays it impeccably. For example, I love how she’s so on edge she downs the glass of champagne in one go.
It’s only adding to the comedy, and what’s more Sharif is still cool as cucumber, his Nick isn’t fazed a bit.
...Still our friendship...leaves something to be desired...
It does make us wonder how dangerous he could be, but Fanny’s obviously caught in his web.
As we watch her face (Streisand is so emotive) we can see her defences wearing down more and more. It leads to the first attempt at the kiss.
You are woman I am man.Let’s kiss.
In her own way, Fanny’s trying to fend him off for the sake of chastity, we can presume. Lucky for her, the seduction is interrupted by the butler.
This leads to Fanny’s own monologue (which is played over while she thinks). It’s a nice moment, but not only for Streisand’s singing (truthfully, the song is lovely but it doesn’t show her range), but it’s still nice seeing her face as she has that emotional tug-of-war. And William Wyler, never one to shirk on cinematic idiosyncrasies gives us moments like this –
Should I do the things he tells me to?In this pickle...what would Sadie do?
And this…
Just suppose he wants his dinner back...
It’s more than the just the slight humour in Fanny mimicking the statues though, the art direction and costume design are just lush her and what better way to show them off?
Of course the butler can only stay for so long, and eventually the lights are dimmed – we know what’s coming next…
It’s a moment that’s both romantic and funny, and it works both ways. Sharif is still being exceptionally seductive, but Fanny spends the time giggling as if he’s tickling her funny bone.
But she’s liking it…
And then of course, the kiss – lovely.
But of course, it doesn’t end there…
...If I stop him now, can he sue me?!
But she won’t stop him…the lights go down and the camera pans out…
…as they kiss.
Funny Girl is a delight...and so is this scene.
Wednesday, 5 May 2010
A musical meme has originated from HERE, and I've been tagged...so on with the meme....
1. Open up your iTunes, music player, spin the CD, whatever, hit shuffle and tell us what is the first song to play…?
"Walk Like An Egyptian", remember that oldie? I do. If you wanna find all the cops they're hanging out in the donut shop.
2. Name your top 5 favourite bands/musicians of all time.
Okay this is one difficult question, and since even I’m unaware who’d fall in that list I’ll just list five from different genres. THE COMPOSER: Stephen Sondheim – I’m not head-over-heels for all things theatre, but this man can do wrong as far as I’m concerned. THE ICON: Michael Jackson, for being so prolific and for being so entertaining. THE QUEEN: Madonna – because she’s hot, and if you’re honest you’ll admit it, and because her music is so much fun. THE GROUP: Matchbox 20 – they’re just excellent. Often I’ll hear a Matchbox 20 song on the radio and get those nostalgic pangs remember their heyday. THE DIVA: Barbra Streisand – I know it’s weird for a straight male to pledge allegiance to Babs, but oh well. There. I said it. I can’t account for the loathing she undergoes. The woman can sing and she often ends up covering songs and making them sound way better than the originals.
3. What was your first CD to own? (8 track, Record, CD, MP3 for the newbies)
I believe it was Lauryn Hill’s The Miseducation of Lauryn one of the most oddly riveting pieces from the genre, easily the premiere work of any female MC and possibly one of the greatest debuts. Each track is something special; it’s a pity that was the beginning and the end. listen
4. Of all the bands/artists in your cd/record collection, which one do you own the most albums by?
I really don’t hoard that many single cds or records, and then with I-tunes and Limewire and all that jazz often it’s just single songs…but I suppose Whitney Houston. My mother is a huge fan of hers and she’s given me interim control of her music…and that’s somewhere about a dozen albums.
5. What was the last song you listened to?
"Drops of Jupiter" by Train; they’re not particularly consistent but when they’re on they’re just brilliant. This remains as one of my favourite tracks of the last decade. listen
6. What song would you say sums you up?
I can’t choose one, so I’ll give three.
“Superman” from Five For the Fighting in that poignant way
“Great Big Stuff” from Dirty Rotten Scoundrels the musical sung by Norbert Leo Butz for the egocentric in us all
“I Have Confidence” for the bad days when we all need a pick-me-upper. Doesn’t Julie Andrews make everyone feel bright and bubbly inside (even this version is by the lovely Audra McDonald, isn't he great?), even though in all honesty I’m more dark and twisty so this song really doesn’t sum me up… but I couldn’t do a musical post and not include The Sound of Music
7. What’s your favourite local band or band that originated from your hometown?
Well you wouldn’t know any of them…since they haven't made it "big" I don’t even know what my home town is. I’ve lived in seven different places in the last fifteen years so…je ne sais pas.. but here's a Guyanese song...a medley of sorts...
8. What's the greatest concert you've ever been to?
Eh, never been to one. That does make me sound weird…but I’m not a fan of the local music scene, so nothing.
9. What musician would you like to hang out with for a day?
Ummmm, Kristin Chenoweth even though she’s not really a “musician”, but a day with her would be fuuuuuuuuuuuun.
10. What was the greatest decade for music?
I’m very tempted to say the nineties, for nostalgic reasons even though I’m well aware that this question just may be unanswerable.
11. What is your favourite movie soundtrack?
West Side Story, Sondheim and Bernstein create a score that’s dangerously close to perfection.
12. What’s the most awful CD/record/etc. you’ve ever bought?
Ashanti’s debut album. I loathe the woman; luckily I didn’t buy it for myself.
13. What's your favourite band t-shirt or poster?
Once again, no answer here.
14. Rolling Stones or The Beatles?
The Beatles win this easily, even though I don’t love them. I do love their writing but often prefer covers of the songs than their actual singing.
15. What is the one song you would most like played at your funeral? Your birthday? While on a romantic date?
"And I'm Telling You" (Whitney Houston) at my funeral. That would be EPIC!
"Being Alive" (Stephen Sondheim) on my birthday
"Bonnie & Clyde" (Jay-Z and Beyonce) on a date
Music first couple? Perhaps. Jay-Z is easily my favourite rapper, even though he’s not as prolific anymore (what with being a Tony nominee and all) and Beyonce is just consistently excellent.
…and just because I want to…a list of fifteen random current artistes I like i.e. people you hear on the radio…
All American Rejects, Beyonce, Coldplay, Duffy, The Fray, Green Day, Justin Timberlake, Lifehouse, Mariah Carey, Mary J. Blige, Michael Buble, Missy Misdemeanour Elliot, Nickelback, Train, Usher
Who to tag? Who to tag?
Saturday, 27 March 2010
In the last decade we lost a number of esteemed movie stars, among them Katharine Hepburn. You probably know my feelings on Kate, and I always wished that she’d had a career resurgence before her death. Of course she was in her nineties. These few women aren’t exactly at death’s door (knock wood) but I’m getting a bit antsy for their prospects – cinematically speaking. It’s hard enough getting roles now, but before the next decade they’ll all be seventy. That’ll be even more difficult. Their counterparts (Dench, Streep, Mirren) continue to find success on films. I wish they’d be so lucky. Here are the nine older gals I hope get a career resurrection this decade. The rule is they can’t have had a notable leading role recently, so even though I wish they’d both do better work Sissy Spaceck (In the Bedroom) Diane Keaton (Something’s Gotta Give) and Julie Christie (Away From Her) don’t make the top ten, even though they’re on the sidelines, not far from this nine.
Marsha Mason (67)
Oscar Nominations: Cinderella Liberty (1973), The Goodbye Girl (1977), Chapter Two (1979) Only When I Laugh (1981)
Last Notable Role: Only When I Laugh (1981)
Back in the days she was a constant Oscar nominee, but I suppose few even remember who she is. She was a formidable screen presence, and I don't think that's something that one can lose. She is particularly gifted in comedy and with so many comedic roles for older women up for grabs it's a pity she can't even land one of those. It's a longshot, I suppose, hoping she'll ever get another good role...
Oscar Nominations: Cinderella Liberty (1973), The Goodbye Girl (1977), Chapter Two (1979) Only When I Laugh (1981)
Last Notable Role: Only When I Laugh (1981)
Back in the days she was a constant Oscar nominee, but I suppose few even remember who she is. She was a formidable screen presence, and I don't think that's something that one can lose. She is particularly gifted in comedy and with so many comedic roles for older women up for grabs it's a pity she can't even land one of those. It's a longshot, I suppose, hoping she'll ever get another good role...
Oscar Win: Funny Girl (1968), Oscar Nomination: The Way We Were (1972)
Last Notable Role: The Mirror Has Two Faces (1996)
You may scoff, but Barbra Streisand is actually a talented. She’s not done a real film role in some time and I wonder if she’s forgotten how to. More than being a talented actress, though, she’s an exceptional comedian and I would love to see her reawaken her comedic talents in a nice caustic role (a la Judi in Mrs. Henderson Presents). She has enough money to fund it for herself.
Sally Field (63)Oscar Wins: Norma Rae 1979, Places in the Heart (1984
Last Notable Role: Mrs. Doubtfire (1993)
The lady is obviously talented. She is currently doing good work on Brothers & Sisters; but I want her back on the big screen. Sally has a knack for heavy drama and she deserves to get a nice juicy dramatic role. The role of a grieving mother sounds like the perfect type of schmaltzy drama she can make work. I mean, Places in the Heart shouldn’t work as well as it does, but it’s Sally’s talent that makes it succeed.
Oscar Win: Mary Poppins (1964); Oscar Nominations: The Sound of Music (1965), Victor/Victoria (1982)
Last Notable Role: Duet For One (1985)
I don’t mind when I see actors I love slumming it in pop fare, but I got no satisfaction from seeing her in The Princess Diaries. It’s become a “given” now that Julie can’t act, but I think that’s an obvious untruth. Sure, she thrives when she sings but The Sound of Music and Mary Poppins don’t work any less she uses her acting skills alone. The woman has a skill with mannered comedy, I’m not sure if she’s given up on acting or acting has given up on her….
Jessica Lange (60)
Oscar Wins: Tootsie (1982), Blue Sky (1994), Oscar Nominations: Frances, Country (1984) Sweet Dreams (1985) Music Box (1989)
Last Notable Role: Cousin Bette (1998)
I’m not sure why, but Jessica Lange doesn’t seem to have too many roles (or fans). For the life of me, I can’t see why. Plastic surgery or not she continues to be an excellent actress (see Grey Gardens, Big Fish) and when she spoke about the lack of roles she gets at the Emmy’s last year I felt a bit sad. The woman’s a double Oscar winner, beautiful and talented. Who doesn’t want to see her in a movie? She has a formidable range. I really want someone to give her the chance to use it.
I’m not sure why, but Jessica Lange doesn’t seem to have too many roles (or fans). For the life of me, I can’t see why. Plastic surgery or not she continues to be an excellent actress (see Grey Gardens, Big Fish) and when she spoke about the lack of roles she gets at the Emmy’s last year I felt a bit sad. The woman’s a double Oscar winner, beautiful and talented. Who doesn’t want to see her in a movie? She has a formidable range. I really want someone to give her the chance to use it.
Susan Sarandon (63)Oscar Win: Dead Man Walking (1995), Oscar Nominations: Atlantic City (1981), Thelma & Louise (1991), Lorenzo’s Oil (1992), The Client (1994)
Last Notable Role: The Banger Sisters (2002)
Last Notable Role: The Banger Sisters (2002)
In a way Susan is like Diane Keaton. She’s been doing work, but not deserving of her talent. She gave a valiant performance opposite Carey Mulligan in The Greatest this year, but the film is not worthy of either woman. She just needs to work with better talent; she’s obviously not lost her touch for turning stock roles into real people. I still recall how the stodgy Shall We Dance lighted up whenever she was on screen. I wonder if her separation from Tim will send her career up or down...
Oscar Win: Julia (1977), Oscar Nominations: Morgan 1966, Isadora (1968, Mary, Queen of Scots (1971)The Bostonians (1984)Howards End
Last Notable Role: Mrs. Dalloway (1997)
I suppose in some ways this is a bit of a cheat since Ms. Redgrave actually has two films slated for release this year. She has the Amanda Seyfried romance (Letters from Juliet) and the alleged Ralph Fiennes Shakespeare piece (Coriolanus). I’m not certain if they’ll reach fruition, and nonetheless, there’s nothing like too much Vanessa. She remains as one of the most resplendent actors on screen and has aged so gracefully. She was slated to play Queen Eleanor of Aquitaine in the Robin Hood flick this year, but the death of her daughter Natasha Richardson prevented it.
Maggie Smith (75)Oscar Wins: The Prime of Miss Jean Brodie (1969), California Suite (1978); Oscar Nominations: Othello (1965), Travels With My Aunt (1972) A Room With A View (1986) Gosford Park (2001)
Last Notable Role: Tea With Mussolini (1999)
Maggie has brightened the last decade with supporting roles (some prime) on screen. Her most notable was he part in Gosford Park – which earned an Oscar nod. Still, even that’s been a while. I do enjoy seeing her breathe life into McGonagall in the Harry Potter series, but surely she deserves a greater role to go out on. Maggie is one of those rare thespians who is equally skilled in comedy as she is in drama, so there’s any number of great roles that could be offered to her.
Oscar Nominations: The World According to Garp (1982); The Big Chill (1983), The Natural (1984); Fatal Attraction (1987), Dangerous Liaisons (1988)
Last Notable Role: Hamlet (1990)
Sometimes I forget that my darling Glenn is over sixty. She always seems so full of life. She’s experiencing a rebirth of sorts on TV impressing audiences with her audacious work on Damages, but I’m not satisfied. It’s not that I don’t like TV – I do. But the screen is where I'll always prefer to see her, and she is worthy of it. I’d love to see her bring that musical version of Sunset Boulevard to fruition - although I know the chances of that are slim at best. The thing is, she can play more than the caustic roles we've come to recognise (and love) her for. Why isn't anyone using her talents?
Which of these women deserves a plum role the most? Or is there someone I've missed?
Wednesday, 23 December 2009
Sunday, 22 November 2009
I’m not a big William Wyler fan. It’s weird. The guy is one of the most prolific directors of his time. He directed some great performances, and Oscar seemed to love him a whole lot, but I’m just not a big fan of his. I suppose it’s a bit unfair that the only film of his that’s on my list of favourites is one that many don’t appreciate that much. But that’s me; swimming against the tide as per usual. It’s also one of the last films he did – the 1967 musical Funny Girl.
Because the Oscars are crazy and could never reward a Hepburn picture with the top prize I guess I shouldn’t be that bummed that The Lion in Winter didn’t walk away with the top prize. But if they were going to reward a musical, why not reward the superior of the two – Wyler’s Funny Girl? Oliver was just abysmal – but I digress. Funny Girl is a simple story. Fanny Brice is a Jewish girl who hopes to become a star. She does, but at what cost? Like so many musicals, it’s not the actual plot that makes the film so wonderful – it’s the performers. And the success of Funny Girl as a film is rooted in Barbra Streisand’s eclectic performance as the funny girl.
The majority of the numbers in Funny Girl are sung by Fanny and this gives Barbra much room to show her range – both as a singer and an actress. She always thrived in comedy, so songs like 'Second Hand Rose' and especially 'You Are Woman, I Am Man' are done to comedic perfection. But when she gets teary eyed in those dramatic moments, it is beautiful too. 'People' is sung wonderfully, and wonderful finale of 'My Man 'is legendary for a reason, but I’ll get back to that. The pivotal song though is the title song, 'Funny Girl', written for the film version. It’s a slight number, but Streisand’s packs all her power into it, and it’s beautiful.
Omar Sharrif though is quite good as Fanny’s object of affection. The man is charming – we’d learnt that from Dr. Zhivago already, and he uses this charm once again in Funny Girl, and it’s wonderful. He and Streisand play wonderfully off each other, and though I suppose the performance is not really that strong, I’d have liked to see him nominated somewhere.
I said earlier that that final number in Funny Girl has become legendary. As Fanny performs 'My Man' and the camera closes in on Streisand’s tear stained face and all fades to black it’s all chillingly good, and it’s a nice bit of direction from Wyler. I don’t know, maybe Funny Girl is a guilty pleasure. Perhaps it’s not as good as I feel it is, but who cares. It’s #79 and I happen to like it quite much. What about you? What do you think?
Thursday, 25 June 2009
It's time to look at the hottie nominee.
Amy Irving in Yentl
Amy Irving is definitely the prettiest of the five nominees. Yentl is a strange film for me. I generally like musicals. Actually, I like very much (West Side Story, Chicago, The Sound of Music, Mary Poppins), there are some that are good but I’m a bit meh about (Singin’ In the Rain, A Star is Born, Gigi) and then there are those (one in particular) that I despise (An American in Paris). Yentl probably falls into the middle category. Barbra Streisand’s best (musical) performance for me will always be as Dolly Levi in Hello, Dolly! In Yentl Barbra plays a young, Jewish woman who pretends to be a man in order to further studies. She falls in love with a man Mandy Patinkin ( who will always be George to me) who is engaged to a girl – Amy Irving. Hadass also falls in love with Yentl which is part of the main conflict of the movie. The plot is kind of been-there-done-that, but not in a bad way.
This movie is Barbra’s show, and this is not just because she directed the film. The writing is biased towards her, and all the other characters are not particularly realistic, and more importantly none of the other primary cast members have principal singing parts. There is only one scene Barbra is not in, and you still her voice, so it doesn't count. Amy Irving is just weak as Hadass. I suppose in a way she was supposed to be all meek and pious, and in that sense she did well. But when is too much, too much?…it’s just completely ignorable. I sort of wished her character would just die, or just get out of the damn movie, pretty face or not. This was definitely a waste of a supporting actress slot; I just didn’t find this performance appealing in an actress-y sort of way. Amy is just boring, boring, boring, boring. I mean this could have been something for the books.
Kind of off topic, Yentl has one my favourite songs Papa, Can You Hear Me? written by Marilyn Bergman. It’s a good song.
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