Johnny Simmons

I’m doing a journalism writing course this semester at University, and on Wednesday our lecturer made us watch Pakula’s 1976 All the President’s Men. It’s a fine example of journalists at work since the adaptation is so devoid of the most obvious Hollywood-ization that most true-stories have today – sometimes, I must admit, to my exasperation.

Hoffman and Redford are two of the most conventionally “seventies” actors and the idea of them working each other is spirited. The thing, the best thing about All the President’s Men is also the worst thing about it. In its staunch upholding of the truth it seems to be devoid of characters, which is – incidentally – what makes me such an admirer of Hoffman and Redford here. They have little to work with, but they make it work excellently. I like Redford, but even at his best I always like him with reservations. And, he’s not at his best here – but he’s good. 

The two manage to make simple interviews come off as well acted arcs; the best of which occurs opposite Jane Alexander in a head-scratcher supporting actress nomination. She’s much better than the role, but it’s still one of the oddest acting nominations I can recall. Oddly, Robards, with a similarly small role manages to carve something much more indelible. No, not worthy of that Oscar, but oftentimes one of the highpoints of the film reminding you that these are real people and not just the means to an end in bringing down a government.

        

Like so many films that retain that quintessential feeling of Americana I often wonder how much more I’d like All the President’s Men if I was an actual American. To its credit, though, what emerges loudest from the narrative is not a pride that is nationalistic but journalistic – garishly, at times. Just like many would say that Saving Private Ryan offers a ferociously authentic look at war All the President’s Men does the same for journalism – although not ferociously. It’s content with showing the unglamorous nature of the job.

This is perhaps what makes the film itself sort of paradoxical for me. It doesn’t maintain the major tenets of the cinema, it’s palpably a non-fiction piece but yet its cinematic aspects are excellently done, its cinematography and score for example – though unobtrusive in both cases – is excellent. But, remember that adage about things not being as good as the sum of their parts? I get that distinctive feeling with All the President’s Men. It’s a fine example of filmmaking that is immediately admirable, both for its cinematic attributes and for the way it pushes boundaries with the form of storytelling – the screenplay is a beauty. But, there’s something distinctly cold about it, soulless even – but I still won’t deny that it’s a fine film.

          

Kramer vs Kramer is one of those dozens upon dozens of films I sought out because of the Oscar attached to their name. I’m always looking to get edified on the tenets of good cinema, even though I can now admit that Oscar does not always equal good cinema. Kramer vs Kramer is as simple as family dramas. Joanna Kramer is unhappy in her marriage and rashly leaves her husband and six year old son. Over time Ted forges a strong relationship when Joana returns looking for custody of the child. When I reviewed the small town duo of Rebel Without a Cause and Picnic I noted that both films were deeply rooted in the zeitgeist. I figure that with the changing parental norms of the seventies Kramer vs Kramer was just as zeitgeist in its way, and in theory I suppose Ted's accomplishment is important for the time. The thing is it’s mostly all lost on me, and the rest of the time I don't really care.

I have a minor resentment of the generic family dramas after years of being forced to endure Lifetime with my mother and though Kramer vs Kramer is not overly generic it’s a film whose blandness leaves me slightly bored. The fact that it essentially swept the Oscars always fascinates me because its appeal often eludes me. The first half of the film tries to tread that line of vague poignancy. I know that Dustin Hoffman’s failed attempts at French toast have become an important moment in cinematic history and his bonding with Justin Henry (the youngest competitive Oscar nominee) is sweet in its way. The thing is one hour of mundane existence between a father and son leading into a courtroom battle that seems excessively contrived isn’t particularly riveting. I’ll put forth that Kramer vs Kramer’s principal issue is that in trying to be a film about the mundane it becomes mundane because it approaches its subject not like a Merchant Ivory production on life in the period era or a Woody Allen quasi-comedy, Kramer vs Kramer wants to be methodical and in becoming methodical it loses the spontaneity of real life and becomes bland – including the ending that seems intent on surprising us with its sincerity.It doesn't strike a resonating chord with me.

It’s unfortunate that Dustin Hoffman won two Oscars for less than interesting performances (though this is nowhere as abhorrent as Rain Man). It’s not so much that’s he subpar here, he’s just uninteresting. Streep is hit with a thankless, borderline ridiculous at times, role and she makes the best of it. Truthfully, though, it’s Jane Alexander’s well intended neighbour who comes off the best of the main cast. She’s the only character who seems to exist as a real person and not as pawns in whatever social commentary Benton (and Avery) are trying to make. Am I being unduly harsh on Kramer vs Kramer? Perhaps, it’s easy to forgive it its faults because it’s so unassuming – but that’s a double standard. Sometimes I wonder if an awful film with soul is better than a fair film with no imagination. Kramer vs Kramer falls in the latter grouping, naturally.

It’s so strange how we end up getting our own ideas of what films really mean. Even when it’s not some giant mindf*** like Von Trier or Lynch film there’s still – quite often – no telling who’s “right” and “who’s wrong” in the argument of what X film is about. The Graduate is the kind of film that could imply much. In 500 Days of Summer Tom confessed to a complete misreading of the film – and judging from his character, I suppose we can all assume what that was. Still, I’m never sure if The Graduate is as wholly cynical as it sometimes pretends to be.

Emmy winning sound-designer (I know, right?) Yojimbo of Let’s Not Talk About Movies offers some insight below.

That’s a reading I wasn’t going to come up with by little own self, though that “now what” look at the end always roused me. Even in the original review for The Graduate I was harping on it. But, it’s the uncertainty – of their looks, and the meanings – that adds to the specialness of the ending. I really am whimsical and I like to think a little more positively than Yojimbo there. All evidence seems to imply that the two are headed down a loveless marriage, and then I think “Who knows?” Maybe they will be the unlikely success, and no better way to try that than away from their toxic parents. It’s weird that I end up starting with the ending, though. It’s not the first thing that’s thought of when persons hear of the The Graduate – is it?

It’s weird how Anne Bancroft has become, in a de facto way, the thing that many persons associate The Graduate with. That leg covered in that stocking (which wasn’t even hers to begin with) is certainly alluring, but as strong a performance as she gives Bancroft is just one of the many supporting characters revolving around Dustin Hoffman’s Benjamin Braddock. 

Doesn’t that name read like something we’d get out of a comic book, a la Archie Andrews or Jughead Jones? I’ll always think of Benjamin as Hoffman’s magnum opus (we’ll be discussing the 67 race at the end of the month for The Actor Factor) Still, if I’m to take the words of the fellow cinephiles who’ve admitted to loving the The Graduate into account, it would seem that their thoughts are not far off from mine. The Mad Hatter of the consistently intuitive The Dark of the Matinee weighs in, and his thoughts are not a far cry from Yojimbo.

I like Hatter’s thoughts on the film’s introspection. I’d still claim it as one of cinema’s brilliant comedies even if it’s more of a “things done funnily” that a “funny things done” situation. In fact, if you get too introspective you might find that The Graduate is too wistful underneath its wan setting and ridiculous characters. Nichols is probably not one we would call an auteur, but consider his film against his one from just a year before – Who’s Afraid of Virginia Woolf. It’s another ostensibly ridiculous piece that has some disturbing connotations beneath. Just like Martha and George are keen on attaining diversions in their lives to ignore their obvious aches Benjamin prefers to meander from place to place instead of making a conscious effort to “do” something. After all, you can’t be inadvertently guilty of a crime? When The Graduate takes that turning point (the first of many) that has Benjamin pursuing Elaine I’m reminded of a Stephen Sondheim quote “I chose and my world was shaken, so what? The choice may have been mistaken…the choosing was not.” I think it’s the same with Benjamin. I’m still unsure if Benjamin’s choice was the “right” one, but there’s some credibility to be found in the fact that he does make a decision. Despite my general moroseness I’m not intent on approaching the situation as bleak as Yojimbo. It’s probably because Dustin Hoffman is so affable, but I’m rooting for Ben all the way. Like me, Dan leaves room for either side of the coin:

I’ve only recently discovered Dan’s Top10Films.co.uk and it’s a blog that’s becoming a favourite. I love the way that both he and The Mad Hatter notice the drifting that’s going on with Ben. It makes me think that perhaps the jury isn’t really that split on what The Graduate is really about after all. I’m afraid I just can’t do it justice when it comes to a second review, but that doesn’t make it any less laudable. It’s still an excellent satire/comedy/social drama…or whatever the hell you want to call it.

Here it is at #9…coming closer to the top with 8 more to go. What do you remember when you think of the The Graduate?

People are always lamenting the state of romantic films – the romantic comedy in particular. Has it really gotten that bad? I can’t be sure. Perhaps, but isn’t the consensus that film isn’t as provocative. Still, I won’t lament on that situation. Instead I’m looking back to three oldies of sorts – two comedies, and a drama each centring on romance in some strange places. What makes these films important is the success each found with Oscars and other award bodies. Each won an acting Oscar in fact, not too shabby for a romance, eh?

              

My mother was a huge fan of An Officer & A Gentleman and I saw it when I was very young. Who can forget that memorable ending where Richard Gere – in one of his few performances I like – picked Debra Winger up and walked her out of that horrible place? Not me. And speaking of endings, who didn’t feel just a little misty eyed when The Goodbye Girl ended and we saw that Dreyfuss had left his guitar behind? Not me. And say what you want about Jessica Lange in Tootsie but who wasn’t cheering when she and Dustin finally hooked up? Not me. Each takes a different perspective on love, and each succeeds.

I often wonder why Marsha Mason doesn’t get more work, and then I remember than Diane Keaton, Susan Sarandon and Jessica Lange aren’t getting much work either, but I digress. Mason is a talented actress and was on quite a streak back in her day but she really shines in The Goodbye Girl. There’s a moment in the film when she buys her groceries only to have them all fall down on the sidewalk. Marsha’s reaction is always realistic and never forced. The romance between her and the wandering Dreyfuss is excellent. The premise is so simple and it never goes for the loud and obvious, but it’s the little things that make this so special. It’s the same in some ways with An Officer & A Gentleman. I always lament the fact that Debra doesn’t have an Oscar and then I always marvel that she was nominated for this. Not that the nomination wasn’t deserved. It was. But the performance is so atypical of Oscar. Debra has never been a showy actress and An Officer & A Gentleman is a film that focuses on so much more than the romance between her and Gere. The film examines so much and yet it never loses its touch as one of the better romances of the 80s. sometimes I wonder if Top Gun wasn’t trying to take a page out of their book, but let’s not go there….

Let’s go instead to Tootise. Dustin Hoffman in drag doesn’t seem like the ideal premise for a romance and this VERY light comedy doesn’t seem like an ideal Best Picture nominee. But I’d probably have given it the Oscar. Why does Tootsie work so well? I never can underestimate Jessica Lange. Her Oscar win has become hated. But I don’t care. People undervalue the difficulty of playing a romantic lead. It isn’t easier because it’s less baity and it’s more than her beauty. In a film filled with so much of the ridiculous she manages to keep the film from becoming over the top. Even if Tootsie wasn’t winning Picture I wish they’d have given Hoffman the Oscar to prevent Rain Man from getting than honour – but I digress. It’s not as excellent as his performance in The Graduate (few are) but it’s exceptional nonetheless. His comedic timing is impressive – and speaking of impressive, what of Teri Garr? Perfect in everyway in her small role I always smile to remember that she too was Oscar nominated.

 I suppose the consensus is true. Films like these aren’t made any more, but the thing is if they are made they aren’t as esteemed. Why didn’t Eternal Sunshine of the Spotless Mind get more recognition? Why did The Upside of Anger and Bandits get none? But I won’t go there. I’ll revel in the past, each of the three is on my list of favourites.. An Officer & A Gentleman appears at #56, The Goodbye Girl appears at #50 and Tootise appears at #44. But each are extra special in their own way, it’s unfair to pit them against each other. Bu I’ll ask you to, anyway. Pick a favourite? Which do you like the most?

So seeing that the list of my Favourite Best Actress nods was somewhat well received I’m done a companion piece...for the Best Actor race. If you’re lucky, I’ll continue the trend for the supporting categories. So here’s the list of my  favourite Leading Nominees – Actors...beginning with the thirteen runners up. [Click on the films for more information]

     

28 – James Dean in Giant 
27 – Robert DeNiro in Taxi Driver

26 – Al Pacino in Dog Day Afternoon

25 – Robin Williams in The Fisher King

24 – Montgomery Clift in A Place in the Sun

23 – Tom Hulce in Amadeus

22 – Jack Lemmon in Days of Wine & Roses

21 – Paul Newman in The Hustler

20 – Javier Bardem in Before Night Falls

19 – Peter O’Toole in Lawrence of Arabia

18 – Leonardo DiCaprio in The Aviator

17 – Spencer Tracy in Judgement at Nuremberg

16 – Paul Newman in Cat On A Hot Tin Roof

                         

Yeah, I spoke about his awesomeness in my review of the film and he cracks the top 15. I haven’t seen him in that much but what I’ve seen him in he’s good. And then there’s the fact that French people are just great. But yeah, his Gregory is a despicable man, but he’s still incredibly charming. He would be a good friend to have a sticky situation – unless he turns on you, of course. I haven’t seen Going My Way but I really don’t think that Bing Crosby could have topped this. It's not the stock villainous role, he really is good in this. And he thoroughly deserved his Oscar nomination.

                                               

Along with The Ten Commandments they show this film every Easter here. This one is better, even though it’s a bit schmaltzy, it is a nice movie. And Burton is good [as usual]. I suppose he can be accused of being over the top. But Marcellus was going crazy, so it’s an occupational hazard. And this was the first Richard Burton performance that I saw, so it’s that much more special too. And Jean Simmons doesn’t hurt either. I'll admit it, those scenes when he goes crazy are my favourite. Yeah, they're total Oscar bait. But I can't help it. It's really good in a scary kind of way.

                                          

And here we have it, the greatest thing that Sean Penn has ever done – and probably ever will do. And he did it under the hand of Tim Robbins. I still cringe when I think he lost to Cage, not because Leaving Las Vegas was unworthy but because Cage is just despicable; but I digress. Matthew Poncelet truly is one of those incredibly complex characters and your reaction to him is completely subjective. Sean's work here is incredibly layered and it was so early in his career too. It's a truly incredible performance...not to be ignored.

                               

Are you fed up seeing him? Can't help it. I can't believe that he only has four nominations, he seems so ubiquitous. He has not starred in that many films either, but when he does he's outstanding. And Gerard is outstanding. I am a bit prejudiced against Scottish accents in film, they just make me want to implode. But Daniel made me make an exception. It's a sympathetic character, but he doesn't beat it over our head. He plays Gerard as just an ordinary guy - the good, the bad and the ugly. And that's what makes me like the performance. Gerard is not the stock hero. He is instead a real person.

                                                 

Tracy had all the charisma to play this role and he did it just right. Sure, I don’t know why Gene Kelly or Frederic March were not nominated too, but it’s all good. You can’t have everything, I suppose. Henry Drumond is a great character in print, and Spencer brings it effectively to life. Whatever your opinion on evolution [and if you’re smart you’ll realise the film is about more than that] it would do you good to at least experience this film and performance at least once. Stanley Kramer allowed Spencer to give three outstanding performances and this is probably the greatest of them all.

                                            

It’s my favourite performance from Sir Hopkins. The man is a legend and he’s done wonderful work for decades but I’ll always think of James Stevens when I hear his name. It’s a difficult character, we never see the man breakdown and he’s never spontaneous. That closing shot and the expression on his and Emma’s face is truly poignant. In a year of Liam Neeson and Daniel Day Lewis and Anthony I am slightly miffed that Hanks won, though his performance was fine but oh well. That's life. 

                                         

This is another one of those introverted roles, though Almasy does have some showier moments. It’s a real pity that this guy doesn’t have an Oscar. Of course losing to Geoffrey Rush is much more noble than losing to Tommy Lee Jones, it still is losing whichever way you put it. There’s a scene at the beginning where denounces the use of adjectives. Fast car, slow car, chuaffer driver car.... Someone asks, Broken car? He winces almost imperceptibly, still a car. It’s mot a particular groundbreaking part of the film, but it’s in moments as small as this that we see some truly good acting from Fiennes. And yes when he gets drunk at the dance he's just as good playing loud and angry.

                        

Do people really hate this guy? And if yes, ummm why? This is another guy that needs to do more movies...he's not getting any younger. What's so good about him in this role is that there are scenes where he's not the centre but his facial reactions are thoroughly convincing. Warren is somewhat underrated as an actor but he's really good in this. And for that matter, so is the movie.

                          

Did you do a double take? Sorry, don’t rub your eyes. You’re seeing correct. I won’t go into people’s hatred of this film... I like it, and well yeah, that’s about it. W. P. Inman. Jude's accent is so freakish in this movie [in a good way] and yeah though I kind of watched hoping to see more of him and Nicole it was all good. His part of the film is less interesting, and it depends purely on his talent [and Philip Seymour Hoffman a little] to make it work. It could have gone horribly wrong, and I know for some they feel it did, but for me Jude made it work. Kudos to him.

                                                   

It’s the best thing that he’s done; that I’ve seen at least. Yeah, I would have given him the Oscar. I mean if they weren’t going to give it to the oldie, why not give the fresh young’un? Don’t ask me. Benjamin Braddock is just hilarious. He carries the entire film on his shoulders and all the other cast members are just supporting to him. His movement and antics alone are enough to convince you of his feelings in those montages. And the line readings aren't half bad either, Mrs. Robinson, are you trying to seduce me? You think?

                                     

There’s a moment in the movie where Bud is sifting the channels. He tries to watch Grand Hotel, but the ad breaks keep annoying him. It’s not a big acting moment, but Lemmon’s facial expressions always sell me. People always say Some Like It Hot or Missing was where he was best, but The Apartment has always been it for me. Bud is just a great character and all of that [well most if it] rests on Jack. Sure the screenplay is good, but this is one of those roles that would have been empty if done right. And luckily, Jack does it right.

        

I sure wish that he would have won the Oscar, though I have nothing against William Hoden. Clift may not be the best actor in the world, but he doesn't deserve to be written off as only a looker. I thought he was really good in this and deserves praise. It's the tortured character that is his specialty, but he plays it just right. A heartbreaking performance that is even sadder when you think of how his life [and career] ended.
                                       

                                       
3 – Richard Burton in Who’s Afraid of Virginia Woolf?

I am not drowning. Even though George won’t admit it, he is slowly, but surely a drowning man. The middle of the film where he rips into Nick during the macabre Get the Guests is one of the best parts of this already great film. He outdoes the entire cast [all of whom give career best performances] and he absolutely takes control of his role. Everyone marvels at Liz's age transformation, but Richard ages too. Just look at The Taming of the Shrew [shot after this to see how young he was]. It's a great performance from any angle.

                                         

What the hell is about this guy? But yeah, here’s to Stanley Kowalski. Tennesse Williams is a genius for writing this, and Brando is a genius for interpreting as well as he did. It’s one of the greatest male performances, and yeah Stanley is despicable but [be honest] don’t you wish you were him? And you can’t not remember that famous calling of Stella. Lolita was right that perhaps people love him just a little too much. He doesn't always ace it, but boy-oh-boy. When he does, it's just marvellous and he deserves all the recognition here.

                                                                  

I feel a bit generic to put this as the best, because so many people say that it’s the best...but maybe it really is the best. The fact that he’s about thirty years too young for the role always boggles my mind. What exactly prompted them to give him the role? And the fact that he’s just as good as Katharine Hepburn boggles my mind too. This is just an outstanding performance. I’ve never seen Charly and I never want to see it because I know that I will scream in anger when I see whatever crap it was ROBBED Peter O’Toole of his Oscar. Wrong, wrong, wrong!
                            
And know that somewhere someone's going to be ticked off by at least one of these choices. So have it. I'm ready, I'm ready, I'm ready...

The Graduate is a 1967 comedy starring Anne Bancroft and Dustin Hoffman. Mike Nichols won an Oscar [his only] for directing it. When a disillusioned college graduate [Hoffman] comes home after graduating from school he finds himself complete discontented with the suburbs. He enters into a sexual relationship with Mrs Robinson [Bancroft] an older woman who just happens to be a neighbour of his parents. With this relationship Benjamin thinks he has finally found that elusive something that he has long been looking for…that extra addition to his life that not only makes him a man, but a complete human being. The relationship though is not a walk in the park and sometimes Benjamin and Mrs. Robinson [which he continues to call her] experience some fierce arguments, the last of which centres on Mrs. Robinson’s daughter a college student about Benjamin’s age. Mrs. Robinson forbids Benjamin to ever date her, something he had never thought about. As fate would have it though Benjamin eventually does go on a date with Elaine which severs the ties of the relationship and leads to much suspense and hilarity as Benjamin finds that he has found his true love in Elaine.

The plot for The Graduate does not really sell it well. If they wanted to, Lifetime could take it and turn it into sappy sob fest. But despite a plot that’s not exactly groundbreaking the script for The Graduate is on point. It’s one of the best comedy scripts I’ve ever read and it’s incredibly easy filled with some snappy dialogue. And even though it’s a comedy it’s not vacuous like the so many of the comedies we are privy to today. It’s a true testimony to a script [and a film] when it becomes a part of pop culture and the phrase Mrs. Robinson has become a staple in modern dialogue. I mean of course The Graduate was based on a book but it wasn’t the book that made every one know who Mrs. Robinson was…

With a good script, a good cast is essentially. Dustin Hoffman bears the brunt of the work since this is essentially HIS film. I know that this was quite early in his career; but for me this film represents the quintessential Dustin Hoffman. As Katharine Hepburn said all the right actors win Oscars but for the wrong roles. I don’t know if that’s right for everyone, but it’s true about Dustin. With all due respect Kramer vs Kramer was not a bad performance – he actually does some good stuff but it’s not that good. And as for Rain Man – I just hate it. Maybe it’s Tom Cruise, but I despise the film and am not a big fan of Hoffman in it. Hoffman was at his best in the sixties with this, Midnight Cowboy and the mid seventies All the President's Men he was just marvellous. Anne Bancroft was not throwaway either, she actually reminded me of another Ann [Anne Baxter in The Ten Commandments] with her vampish walk and her sultry voice. I’m not sure if I’d say she was robbed of the Oscar like so many are wont to say. I think Kate was the right person for it, and if not her I’d give the other Hepburn [Audrey Hepburn in Wait Until Dark], but I digress. Anne Bancroft is marvellous in this, and although the second half of The Graduate is my favourite I kind of hate it that she’s off screen.

Her husband [Murray Hamilton] and Benjamin’s parents [William Daniels & Elizabeth Wilson] are also effective with little screen time, Hamilton has a biggish scene towards the end which he plays just right. I’ve always felt that Katharine Ross playing Elaine was at an inherent disadvantage. Mrs. Robinson is morally ambiguous, we cannot deny that, but she’s completely alluring and the audience is drawn to her. To an extent we’re already on her side and in the past I have judged her harshly. But watching it again last year I realised that she did give a good performance. It’s hard making good interesting on film and she does deserving that Oscar nomination. And at the end of the day you do root for her, you do want her to win,

I’ve always thought that it’s difficult saying so-and-so directing did a good job with that film but with The Graduate for some reason I can just felt that it was directed wonderfully. There was just the way some scenes were shot that had me enchanted including this famous one above. It was great to see Nichols get his due in a decade when so many good directors were snubbed [Kramer for Judgement at Nuremberg, Harvey for The Lion in Winter, Kazan without even a nomination for Splendor in the Grass].
The last sequence of The Graduate is so interesting and is open to much interpretation. Benjamin and Elaine escape the conformist and get on the bus, the adrenaline is pumping. Then they sit down at the back of the bus and they give each other a look. But what does that look say? This is fun. I love you. What the fuck did I just do? I don’t want anyone spoiling my happy ending so I’ll go with the second option but what’s interesting is no matter what it means it’s still a great film. And what’s more interesting is that this is my number nine and yet it’s not my favourite of the 60s. Imagine that.