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Showing posts with label The Lion in Winter. Show all posts
Showing posts with label The Lion in Winter. Show all posts
Friday, 13 May 2011
Happy Belated Birthday to Kate the Great (or How I Think I Caused Blogger's Meltdown)
0 comments Posted by 2011 at 17:07I’ve been sinfully busy these past few weeks and it wasn’t that I forgot that Kate Hepburn’s birthday was on Thursday (I’m not a heathen) but it wasn’t until the lovely Anna of Defiant Success asked me what my favourite Hepburn performance was that I decided to make anything big about it. Then, blogger started fucking with me. I swear, it's as if as soon as they knew I was planning something for Kate they decided to shut down. Is blogger secretly run by Meryl Streep and the ghost of Bette Davis and Ginger Rogers? They swallowed my original post, but I managed to write this one up....
I digress, though. I always thought that my favourite Kate performance was common knowledge to all. Whenever I hear the name of Our Lady Kate the first thing I think of is Eleanor Aquitaine.
“My, what a lovely girl. How could her king have left her?.”
I swear that image is imprinted in by brain, but then that could be said of almost any image from The Lion in Winter. I like to think that of all her post-50s performances (with the exception of Amanda Bonner, of course) Eleanor is the best example of Kate using her natural cadence to do fascinating work. I am not a believer in fate, but I think it is a perfect confluence that the brilliance of this woman just happens to be one of the roles she won her Oscar for. It is not a Tracy/Hepburn flick, but I always think of Spencer when I see it, if only because it's Kate's first performance after his death. And yet, the performance is strange. The very fact that it is so brilliant seems to defy logic because “great” acting is all about eschewing what one is usually like and transforming oneself. The thing is, Eleanor is Kate but Kate becomes Eleanor in the way that’s difficult to say where the character ends and the actor begins.
Dazzled indeed.
And head over to these two great people who also chose to celebrate Kate's birthday:
Tom of Reinvention: The Journal of a Dog Lover, Movie Goer and Writer
Joana of For Cinephiles by a Cinephile
Ben of Runs Like A Gay
and Anna wrote this great anecdote on Tracy Lords:
"When Katharine Hepburn comes to mind, I tend to think of Tracy Lord from The Philadelphia Story. She's snooty but at the same time you're drawn to her, curious on what makes her tick. Is it her impending wedding? Is it her ex-husband (Cary Grant) showing up? Is it the reporter (Jimmy Stewart) that came to cover the wedding? You'll just have to watch to find out."
Tuesday, 24 August 2010
I'm feeling ridiculously tired at the moment, and really the possibilites are endless (I sense a series of post imminent on this topic). Nonetheless, the ones that came to mind first...
Beautiful Profundity
The English Patient: “Betrayals during war are childlike compared to betrayals during peace. New lovers are warm and tender, but smash everything…for the heart is an organ of fire.”
The Lion in Winter: “Of course he has a knife, he always has a knife, we all have knives! It's 1183 and we're barbarians! How clear we make it. Oh, my piglets, we are the origins of war: not history's forces, nor the times, nor justice, nor the lack of it, nor causes, nor religions, nor ideas, nor kinds of government, nor any other thing. We are the killers. We breed wars. We carry it like syphilis inside. Dead bodies rot in field and stream because the living ones are rotten. For the love of God, can't we love one another just a little - that's how peace begins. We have so much to love each other for. We have such possibilities, my children. We could change the world.”
Brilliant One-Liners
The Philadelphia Story: “This is the Voice of Doom calling. Your days are numbered, to the seventh son of the seventh son.”
The Big Chill: “I don't know anyone who could get through the day without two or three juicy rationalizations. They're more important than sex.”
Gosford Park: “I'm the perfect servant; I have no life.”
Useable in Everyday Life
There’s a scene in The English Patient when Ralph Fiennes’ patient turns to Juliette Binoche’s Nurse – Hana. “Did you know Herodotus is the father of all history.” She responds glibly, “I don’t know anything.” The line itself is nothing of brilliance, but Binoche’s line reading has stuck with me since…I use it quite often with the same inflection. It's true.
All for the MEME.
Sunday, 22 August 2010
Really the possibilities are endless because those final moments in a film are often quite striking. The Big Chill came to mind almost immediately. “We're not leaving. We're never leaving.” – those are the final words of the film (said by Jeff Goldblum), and taking into consideration the two hours that have gone before we don’t really want to leave either. In fact, the words could be taken into account for any good movie – we never really want to leave it. When Peter O’Toole and Katharine Hepburn part in The Lion in Winter we get the sense that the journey’s not over yet even though the credits roll. Both Eleanor and Henry still have a significant amount of fight left in them. As Eleanor says, “I hope we never die!” I remember the end of Atonement with sadness – not Vanessa’s monologue but the imagined ending of Robbie and Cecilia on the beach. It’s my favourite shot in the film, that ending – and it’s not real.
If there’s something Joe Wright does that’s significant with Atonement’s end it’s the lack of speech. It doesn’t end with a tongue-in-cheek line or a pithy remark. It’s a series of images that makes it good, like the brilliance of Stephen Frears with the ending in Dangerous Liaisons. That final shot of her in the mirror frantically cleaning her face will never NOT be haunting.
In the end, I settle on the inspirational ending. I’m thoroughly fond of On the Waterfront and even though Kazan’s intention seems the slightest bit sugary I still love it. Malloy has testified in court against Johnny Friendly and he heads down to the waterfront to line up with the men. He gets beat up, roughly so, and he gets up – bloody and broken – to stand up with the men. It works for many reasons – Kazan doesn’t shy away from the brutal, Brando is just brilliant and Lee J. Cobb’s dastardly mob boss in the background all combines to make this the final scene that I consider a favourite.
This is all for the MEME.
Monday, 9 August 2010
This was a bit of a silly question. The ever had be rolling my eyes. What to do? What to do? When in doubt look to Katharine Hepburn.
This is probably my favourite performance ever and this scene, though short, is just brilliant (remembered how I gushed about the film). Enjoy.
Monday, 19 July 2010
“What is truth in art? What is truth in cinema? If by truth you look for accuracy and period detail then The Lion in Winter will not be for you. If, on the other hand, you look for that deeper truth of the Human Condition then few films get closer to identifying it. Writer James Goldman takes a warring family with 20th century feelings and responses and places it firmly into the context 12th century royal politics. It’s an extraordinary achievement aided by a superb cast (Hepburn, O’Toole, Hopkins all at the top of their game), convincingly low key design and a terrific quasi-monastic score.”
Ben, of the irreverently named Runs Like A Gay wrote the above. He’s actually been lucky enough to take part in a production of the excellent play and I couldn’t agree more with his summation. As far as history dramas go The Lion in Winter may be little more than farce, but if it’s farce – it’s irresistible farce.
“What a desolation!”
Were one to line up the reasons – rationally as possible – as to the pros and cons of Anthony Harvey’s 1968 drama, the sound question one would be moved to ask is how the film managed to be a success. The fact is, The Lion in Winter has more going against it that for it. First off, it’s a historical drama. It’s nowhere near as expansive (thematically) as A Man For All Seasons and this Henry isn’t the one that most history buffs are interested in. Secondly, in the mere few days the film covers nothing particularly pertinent happens. In fact, were we moved to ask what any particular character has accomplished during the film’s runtime we may end up answering – nothing. And conversely, while the action is sparse the film is very “talk-y”, not exactly a prerequisite for a good (or enjoyable) film about the 12th century. Yet, The Lion in Winter defies these odds. The original stage production wasn’t much to shout about (or so I heard), but perhaps it’s the inclusion of our Lady Kate, Peter O’Toole and a newly discovered Anthony Hopkins that makes it such a success. Perhaps, the story was just more suited for the film. I don’t know. Whatever it is, I always marvel at it.
It’s some time during the 12th century and Henry is on the throne. His wife, Eleanor of Aquitaine, is imprisoned in Salisbury Tower. Henry has three sons (on screen; historically there were more) and he’s uncertain whom should be his successor. There’s the lion hearted Richard, the duplicitous but sage Geoffrey and the petulant John. It’s Christmas, though, and thus the family reunites for a few days. Unfortunately, festivity is low as Prince Philip is coming to Chignon to demand that this sister be married to the heir of the throne (whomever that may be) or returned to France. Princess Alais has been in England for some time, now acting as a concubine to the King – but a marriage, to anyone, seems dubious. Thus lies the state of affairs as The Lion in Winter opens. It would be a thorny task to say what happens within the next 120 minutes, and I don’t think I’d care to explain either. Lies will be told, games will be played, knives will be drawn (as will curtains, too), persons will be duped and of course it ends with goodbyes (yet, curiously, no tears). From the inception, the atmosphere of it all is striking. Look at the earlier incarnation of Henry’s life (the 1964 Becket). This set is not the same. Unlike its predecessors the courts of this incarnation are not spotless, but soiled and unkempt – like we’d expect from the period. The Queen’s robes are majestic, but not unblemished and unlike the 1964 piece the court is pervaded by the presence of animals – domestic and otherwise. It’s not the typical period piece, and it shows.
Tom of the eclectic Reinvention: The Journal of a Dog Lover, Book Reader, Movie Goer and Writer shares his thoughts on the film.
“At the heart of this deliciously medieval drama is Katharine Hepburn as Eleanor of Aquitaine, imprisoned queen of tempestuous Henry II (the roaring Peter O'Toole). This is the consummate portrayal by one of cinema's most brilliant actresses. Hepburn demonstrates a stunning ability to speak volumes with a word, a look, a tremble of emotion. In a single scene, sometimes with a single line of dialog, she goes from beautiful and vulnerable to ironic and witty to cunning and calculating.
Director Anthony Harvey and Screenwriter James Goldman provide Hepburn with the right environment and the beautiful language for Hepburn to play at her most wonderful. The Lion in Winter is at once a mystical and haunting historical epic, domestic comedy/drama, and pageant. Harvey lights his sets and moves his camera and creates a picture unique even among historical epics. Goldman's playful script switches moods and allegiances on a dime, and often winks at us with the comparisons between this royal family and modern soap opera. (Favorite line: Oh well, what family doesn't have its ups and downs?) This film is rich in dialog and intrigue, and is worth a fortnight of viewings.
One need not be familiar with the historical origins of this story. Details are deftly filled in, so that we may enjoy the battles between king and queen and their three power-hungry sons, as well as the rich detail of the design, and the soaring and beautiful musical score.”
In the same way that the 1968 Who’s Afraid of Virginia Woolf is a tug-of-war where one cannot choose between Burton’s quiet sadism or Liz’s loud fury one should not choose between Hepburn and O’Toole (although, naturally, I do). The two are evenly matched in this battle, in words and in talent and it’s no surprise that The Lion in Winter reaches its peak in these moment. Yet, what makes The Lion in Winter stand apart of any other film with two leads is that it’s backed up by an excellent excellent cast, each intent on having his day in the sun (or at least destroying a family member). The first words on screen? …come for me. It’s too easy for me to consider it incidental, for The Lion in Winter is really all about everyone intent on outmanoeuvring their peers. I’ll get it out of the way now, Jane Merrow’s Alais presents the film’s only clunker, the less said about her – the better. It’s more than her obvious inadequacy when measured against our Lady Kate but her foppishness makes the film just a little sluggish when she takes centre stage. But she’s surrounded by masters (or at least novices doing a good job of pretending – and isn’t that the same?), so it doesn’t hurt us much. I continue to marvel at the wondrous thing that was John Castle’s performance at the middle – Geoffrey. I still remain confused as to why this performance is so forgotten, and even more flummoxed as to Castle’s inability to make a large mark on film hereafter. Nigel Terry and a young Anthony Hopkins round out the trinity, with Hopkins being particularly moving opposite his Ms. Hepburn. His steely elegance reminds me of Russell Crow circa Gladiator.
Yojimbo, of Let’s Not Talk About Movies opines:
“This is red meat material, chewy and sinewy and full of juice and played by a cast of gourmands who relish the consuming—even Katherine Hepburn, who knew the value of stillness, knew when to tuck in and tear away at a juicy part. The cast, including a debuting Timothy Dalton whose entrance always evokes a smile (with his first ebullient shot not only does he show he deserves to play a King, but also play against Peter O’Toole!) makes the most of rich, if maybe a shade too contemporary, material by James Goldman-his personal best. That the film is so rich is due to the delicious script, and actors, as the other films of director Anthony Harvey are relatively bloodless. It’s an event film, with both Peter O’Toole and Hepburn at the top of their roaring games, and Anthony Hopkins, young bull that he was, giving a glimpse of the glowering powers he would bring to the screen.”
Like him, I too appreciate the script as one of the film’s highlight. If I had to single out a script as the best of all time – I’d single out The Lion in Winter in a heartbeat. The lines roll off the tongue like syrup, anachronistic at times but striking nonetheless. As we continue on the journey through the top ten we reach films where the faults are less and less, and ultimately I forgive Jane Merrow’s poor showing in the film because she sells her final pieces with O’Toole so sincerely I wonder if it took time for her to find her talent (or perhaps convection of talent from O’Toole and Hepburn),. But then, when I remember I return to the man and his wife. O’Toole and Hepburn give my two favourite performances of the decade and the film is a masterpiece. When it ends he turns to his queen and says “I hope we never die.” She answers without sentiment, “So do I.” With these performances I warrant that they won’t. It falls at #6 on my list of favourites.
What are your thoughts on Kate and Peter here? Are you a fan of the script? ...of the movie?
Wednesday, 16 June 2010
f there’s one thing the cinema can do, it’s make an impression on you – and one thing that’s they’ve done constantly is make marriage seem like a sick-twisted game. Some couples do it for fun, and some do it because they’re incompatible. It’s a bit crazy when you think of it because if they’re irreconcilable why get married in the first place? Hence the title… (click on the links for thoughts on the films)
Rhett: Frankly, my dear, I don't give a damn!
Rhett and Scarlet from Gone with the Wind (1939)
Of course they’d make the list…they made the other one too. What makes them smarter than the others it that at least they ended their marriage. They realised that this thing was heading nowhere. I still find Clark Gable a bit too audacious at times (am I the only one getting the Clooney vibe…whom I am not fond of) but the paring with the brash Scarlet works lovely even if they end up tearing their heads off in the end.
Reason #5 – don’t get married [The wife will be lusting for another man and the husband just will not give a damn.]
Reason #5 – get married [The wife will never go hungry again…but still the husband doesn’t give a damn…yikes]
Brick: How in hell on earth can you imagine you're gonna have a child with a man who can't stand you?
Brick and Maggie (the Cat) from Cat on A Hot Tin Roof (1958)
It’s a bit too different from the play, but I still love it so. I suppose that Elizabeth Taylor is the only one able to completely embody the iconic Maggie the Cat (I often wonder what Catherine Zeta Jones could do with the role). It’s a bit annoying that they pair her clad in a sensation white dress with Paul Newman and they don’t…you know, get it on. But, of course, that’s the entire conflict of the play.
Reason #4 – don’t get married [The husband will withhold sex and the wife will hate your in-laws.]
Reason #4 – get married [Maybe the husband will look like Paul Newman and maybe, just maybe, the wife be hot like Lizze, you can dream.]
Eleanor: I could peel you like a pear and God himself would call it justice.
Henry and Eleanor from The Lion in Winter (1968)
Really, they’re twisted. They move from whispering sweet nothing importants in each others’ ears to pulling out all the stops to make the other cringe. Just when you think they do love each other they turn around and are spitting venom. It’s all very confusing…and then they’re children too, self destructive but oh so lovely to watch…
Reason #3 – don’t get married [The children will hate the parents, the wife will try to conquer her husband’s territory – he’ll jail her and he will pick up with his son’s fiancée and threaten to annul his marriage.]
Reason #3 – get married [The wife will look good even when she’s near sixty, and they both will have a knack for brilliant line readings.]
Carolyn: Oh, you don't complain? Then please, excuse me, I must be psychotic, then! If you don't complain, what is this?
Lester and Carolyn from American Beauty (1999)
Hmmm, they’re just all around toxic. It’s so hard to imagine when they’ve ever had better days. She’s just too neurotic and he’s just too…well, he’s just not interested. It’s a pity, though. Their scenes together are so lovely.
Reason #2 – don’t get married [The child will feel alienated and pick up with dope fiend, the husband will smash plates and lust after teens and the wife will hate him and have an affair.]
Reason #2 – get married [“I will sell this house today”, well that’s what the wife thinks and thus husband will look good naked, or so he hopes.]
Martha: If you existed I'd divorce you.
George and Martha from Who’s Afraid of Virginia Woolf (1966)
How could they not be on the list? They’re so twisted and the reason they’re at the top of the list is because they seem to enjoy it so much. It’s like all this violence is some twisted bit of foreplay that they cannot do without out, and it is so brilliant (and brilliant I mean scary and by scary I mean excellent) that I cannot look away.
Reason #1 – don’t get married [They both will be drunks and he especially will despise his father in law.]
Reason #1 – get married [Did you see this movie…? The upside is you die
Take your pick. Which spousal argument is your favourite? My favourite is #3, the most dastardly is #1.
Thursday, 29 April 2010
"Ah. There you are. My comfort and my company. We're locked in for another year. Four seasons more. What a desolation. What a life's work."
Wednesday, 23 December 2009
Friday, 11 December 2009
I was supposed to post these results yesterday, but I was at my old high school helping them put on a condensed performance of The Merchant of Venice which is ironically one of the stage roles that Kate did. Still, moving on, the results were not as a easy to predict as I expected. I was debating whether or not I'd post the winners, or the winners and the runners up etc.
Here are the pictures of the winners in all the categories. As you can see, there was a tie.
Thursday, 10 December 2009
Katharine Hepburn holds the records for the most Best Actress nominations. Twelve. That’s subject to change depending on whatever happens at the next Oscar ceremony [and years to come]; but for the moment she’s the record holder. She’s won four and lost eight. When I gave my list of my favourite nominated Best Actress performances I failed to mention any of Kate’s. I knew I’d do this post sooner or later, and I’d probably have had her on too much. There is such a thing as overkill. So here are my thoughts on Kate’s twelve nominations. In ascending order. Of course I could probably pepper this with all her performances that weren’t nominated – but there is such a thing as restraint.
If one were to look at Kate’s 12 Oscar appearances, this would easily be the least talked about. And I suppose with reason, it’s not the best Kate performance. But that’s more because of the film and the role. Kate plays Liz Curry, a spinster who experiences an awakening of sorts when a conman posing as a rainmaker comes to town. It’s based on a play of the same name which later turned into a musical [110 in the Shade]. Kate is never quite at home playing the lowly farm girl, but she has a nice chemistry with Burt Lancaster which doesn’t seem as forced as one would expect. The second half of the story though is exceptionally well done and those moments where Lizzie finds herself are wonderful played. The entire film is a bit too stagy for its own good, and the story is probably a little too creaky age. But it’s sweet in its own way. Kate didn’t have a chance of winning this, but the performance despite some incongruity was sweetly done and at the end of the day a fair to middling Kate is better than no Kate at all.
If any film is a victim of its time it’s Morning Glory. Granted I’ve only seen this once, and that was before infatuation turned into obsession; this is not Kate at her best. I can’t fault Fritz for giving it a rather scathing review, although I don’t think it’s bad as he: but then again how could I? :) It’s as theatrical a role as ever, and in it’s ridiculousness it’s a trifle endearing. It’s a slight film and I haven’t seen any of the contenders. I do prefer her Jo March of the same year, but I can’t hate the performance, though I don’t love it. It has it’s moments.
I’m actually surprised this is so low. But that just goes to show how great she is. It’s the first Kate and Spence film and for that reason alone it’s a gem. Kate plays Kate and Spence plays Spence and the two meet in one of their many battles of the sexes. This film too is probably a bit too creaky, although it reminds me of The Taming of the Shrew which I’m always wont to assume is more of an irreverent ending than a realistic one. It’s not the best Hepburn Tracy pairing but it’s a formidable one, and as with all their films together – you can’t really trade either for one of their contemporaries. It’s not that their good actors [which they are of course] but clichéd as it is, their chemistry was profound.
Kate had this ridiculous belief that her neck was too long and ugly so she’d insist on having the costume designer make those ridiculous scarves to hide it. After falling into that canal during the filming of Summertime she finally was seeing the effects of that eye infection more than ever, Spencer’s imminent death didn’t help too much. That explains the crying. But with the crying, and the scarves I’ve never really been able to dislike this performance. I won’t make a defence of it. There’s nothing too defend. I guess you like it, or you don’t. I think it’s sweet. I like the way that Christina is always the shrewd mother and businesswoman except when it comes to her husband, and I love that telling off of Patricia that’s deftly played, I love the demure laughter as Spencer orders her Oregon Boysenberry and above all else I love that she can manage to make her scenes with Katherine Houghton even if that girl seems hell-bent on destroying every scene she’s in.
I never could fall in love with this film. It veered between tedious and genius. What was certain though is that each of the four main cast members was exceptional in it. It’s a pity that only Kate could be nominated. What’s difficult about this performance is that it depends on each cast member to work, and it works because they’re all so good. Kate is miscast as Mary; but it’s a glorious error in miscasting. We can never really believe that Kate could be such a broken woman, but it’s that very error in our supposition that makes it all work. And that ridiculously tragic ending works the more for it. I’ll always single out Dean Stockwell – for some of Kate’s best moments in the film are opposite. The film is bizarre at times, but the acting never is.
I think Kate referred to this as her least favourite experience as an actress. She hated the conditions she was working under and she hated the role. It does throw you a little, but she makes a good villain. For, Mrs. Venable is a villain – through and through. It’s not a particularly subtle film – what with the cannibalism and all; and the performance shouldn’t be particularly subtle either. I wonder how audiences reacted to Kate back then, and I wonder how they’d react to Kate today. The performance is a sight to behold, but the nomination is definitely deserved. It’s a chilling performance, in more ways than one.
Ethel Thayer is one feisty old lady. It’s Kate’s last nomination and her last win and it’s a nice, calm performance. That would normally mean that’s not Oscar worthy and to be honest in 1981, year of good performances, I’m torn between Diane Keaton, Marsha Mason and Kate the Great, but I digress. Kate’s Ethel doesn’t have any big moments, in fact Kate’s Ethel we can construe plays second fiddle to Norman for the entire film but she’s still the lead – definitely the lead. She’s constantly hovering over Norman and the audience, though not in an annoying way. This is because Ethel and Norman Thayer are above everything a couple and it’s that love – old but sturdy – that Kate [and Fonda] are able to convince us of. It’s the honesty with which she cajoles her daughter, or the fierceness that she mothers her surrogate song and it’s the sweetness that she utters all her lines. They’re nowhere near as fierce as those Eleanor or Rose would say, but she’s no less quotable for being the perfect wife and urging her husband on.
I’ll always say. I’d prefer if Marlon trumped Bogart and Hepburn trumped Leigh in 1951. But in the end they all have Oscars – some more than others. Kate was an actor who never really underwent stark physical transformation to prove a point, but she does in The African Queen. Look at The African Queen and then look at Pat & Mike which was shot afterward. It may not be as startling as Liz Taylor’s descent into Martha, but it’s startling enough. Kate’s quasi British affectation is so well played and unjustifiably reviled. Personally, I find it hilarious. The African Queen itself is hilarious. It’s a bit too silly for its own good, but in a film with two characters for the most part, it’s forgiven. Kate manages to make Rose’s development realistic and even though I presume those moments of wild abandon in the water were not her acting as much as her enjoying the nature she so love I still find her performance in The African Queen as underrated and excellent.
I know so much behind this performance that I feel as if I was there. There’s that moment Alice goes to her bedroom after a horrible night and cries at the window as the rain falls. Of course Kate wanted to throw herself on the bed in a petulant rage, but Stevens’ accurately felt slow tears would be more effective. They argued and I suppose those tears we do see are more tears of anger than ‘actorly’ sadness. Only Kate. Alice Adams is the story of a girl from a less than distinguished family who hopes to move up in life. It’s a typical story, but a sweet one. Alice Adams is not as likened to Kate as people would believe, she wasn’t a defeatist. But this performance is something to behold. But it’s probably a good thing she didn’t win that deserved Oscar for it, because then we might not have had The Philadelphia Story.
And this is one of Kate’s best. When I think of Kate’s acting, I think of Tracy Lords. The role was written specifically for her, so she has that on her side. As much as I love Bringing Up Baby, I never liked Kate as the unbridled comedic heroine and in The Philadelphia Story she’s comedic without making a comedy of herself. It’s a nice, juicy role and her performance lives up to it. The play’s treatment of her character is yellow with age, but she manages to sell them and that silent opening scene is flawlessly performed by her [and Grant]. It’s as good as they come.
My appreciation of this performance [and film] grew and grew until it became a favourite. People love Kate in superlatives, but as far as her good work goes this always seems to slip through the cracks. Kate plays a spinster who goes to Italy for a vacation and has her first [and probably last] summer fling. She becomes involved with an Italian shop owner, but the romance can only be short-lived because she can’t stay there forever. This is an especially subtle performance and it’s a side of Kate that’s rarely seen. Violet is not as assertive as Eleanor nor as maternal as Christina. She’s a sad creature actually and the opulence of Italy and the romance of the city only heighten the tragedy of her pathetic situation. David Lean never really lets up on that for as romantic as the film may get he [and Kate] are both aware that this is more than just a romance.
I wonder, do you ever wonder, if I slept with your father. On its own that line is incredibly stupid, but Kate makes it work. It’s not that the film lags when she’s off-screen. It doesn’t actually. But Kate is priceless to The Lion in Winter. It probably helps her cause that Jane Merrow [like Katherine Houghton before] is completely bland in her role, but it’s more than that. It’s the silliness of the banter with her and O’Toole, but her alacrity in keeping up when it turns dangerous. The truth [or deception?] as she begs her oldest son to love her, that guilt as she realises that Geoffrey is as much as product of hers as her husband. It’s the amazing fact that she makes Rosamund’s teeth into something worthy of remembrance and it’s the simple fact that for all the duplicity of this woman we never EVER finish the film thinking that we dislike Eleanor. How can we?
So comment away. Rank them, what's your favourite...least favourite? Are you writing on any for the blogathon?
So comment away. Rank them, what's your favourite...least favourite? Are you writing on any for the blogathon?
Wednesday, 9 December 2009
How do you choose your favourite children? It’s lucky that I didn’t have to vote in this poll, but it was interesting to see where the majority of you stood in terms of Kate’s performances. You’ll see my thoughts later but I was surprised that no one mentioned Mary Tyrone or Jo March. I suppose Kate’s version of Little Women has not been seen that much, but so many critics seem to think she’s done nothing better than her Long Day’s Journey Into Night bit. Here are the five versions of Kate you chose.
Bringing Up Baby as Susan Vance
Guess Who’s Coming to Dinner as Christina Drayton
The Lion in Winter as Eleanor of Aquitaine
The Philadelphia Story as Tracy Lords
So Kate’s second and third wins appear, two nominations that should have been more and an ignored performance that’s beloved by all today. Now who saw Christina Drayton making it? I think it’s all well and fine, but it’s interesting to see though considering how many people I know who hate this performance. The other four are I suppose usual suspects – Eleanor, Tracy and Susan and Rose to an extent. People are generally divided when it comes to Rose, although I think it’s a good performance. Tomorrow I'll post my ranking of Kate's twelve nominations.
Are you doing any of these for the blogathon on Friday?
Polls close tonight. The results will be in on Thursday.
I suppose when I put the category of Best Director I wasn’t sure what to expect. Of course I figured there wouldn’t be complete correlation with the Best Picture [and there wasn’t]; but in both categories there were some films that just went unnoticed – noticeably David Lean’s Summertime and Stevens’ Alice Adams.
The Nominees [Director]
George Cukor for Adam’s Rib
George Cukor for The Philadelphia Story
Anthony Harvey for The Lion in Winter
Howard Hawks for Bringing Up Baby
John Huston for The African Queen
I’m surprised that Cukor makes an appearance for Adam’s Rib, which I never saw as a directors’ flick but his inclusion for The Philadelphia Story is obvious in every which way as is the nomination for Anthony Harvey. Howard Hawks and John Huston too are obvious candidates for the good director nod. Of the five, only Cukor [Philadelphia], Huston and Harvey were Oscar nominated. Naturally, none of them won.
The Nominees [Picture]
The African Queen
Bringing Up Baby
Guess Who’s Coming to Dinner
The Lion in Winter
The Philadelphia Story
I’m surprised at the inclusion of The African Queen, which seems like the ideal candidate for a lone director slot [as it was at the Oscars] but I guess people like it, which surprises me a little. Bringing Up Baby has turned into a huge classic so I would have been surprised if it wasn’t there. But Guess Who’s Coming to Dinner was a surprise. I thought everyone hated this? I’m glad I was wrong. The Lion in Winter and The Philadelphia Story were unsurprising inclusions but I thought that On Golden Pond as a crowd-pleaser would make a showing here.
Are you doing any of these for the blogathon on Friday?
Polls close tonight. The results will be in on Thursday.
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