Johnny Simmons

March the 8th marks International Women’s Day and most of you US citizens probably know of the month as Women’s History Month. I’m not American, but I still like the idea of March being the month of the woman, moreover when I think that its birthstones are aquamarine and bloodstones – gems signifying courage, and March was named after Mars – the god of War. It’s an interesting task, trying to discern courageous women in cinema – regardless of how many claim that there’s a dearth of female roles available, there’s a gamut of courageous women you could think of.

As I said, courage is a strange thing and you don’t immediately identify Natalie Wood’s brilliant Deanie with the typical encapsulations of female “hear-me-roar” courage on screen, she’s hardly combative. In fact, if you glance at the plot – a girl seemingly runs crazy after having sex – it sounds decidedly misogynistic and uncourageous. I like to think of Splendor in the Grass in the same way that I’d think of a William Blake poem – ostensibly supporting what seems like so messed up morals, while all the while actually subverting. The attitudes of women are an important part of William Inge’s screenplay. There’s that scene I love where Deanie and her mother are talking about sex and she says,

“Your father never laid a hand on me until we were married. Then I... I just gave in because a wife has to. A woman doesn't enjoy those things the way a man does. She just lets her husband come near her in order to have children. ”. 

It’s an unintentionally hilarious (but conversely, terribly disturbing line) and it makes the morals on which Splendor in the Grass is built seem sort of dated. But, for all its datedness the way that Inge and Kazan examine the age old theme of gender relations is quite interesting.

Like, Bud’s (Warren Beatty’s brilliant debut) sister – played to beautiful, albeit hammy, perfection by Barbara Loden. The film suggests, but never ascertains, that this is what the future holds for Deanie if she refuses to wise up and accept her role in life. Of course, that’s not really true – because, for all the madness that she endures she still emerges with a semblance of grace at the film’s end. And, it's not really madness that she undergoes in reality. I call it Natalie at her best, because she so often avoids the most obvious ways of making Deanie ridiculously crazy. Which takes me to the other important William of the film – Wordsworth. It is his poem that gives the film’s its name. It’s probably wrong to read too much feminism – if any at all – in Splendor in the Grass, but there’s something decidedly close to liberalness in that final shot watching Deanie drive away.

Natalie Wood has an inherent “superior” nature to her, that’s not quite condescending but still a little lofty (perfect example: the entire last half hour of Love with the Proper Stranger). And the look on her face as Deanie meets Bud for the last time is striking on so many levels. Not only because Bud looks like the guy who killed the goose that laid the golden egg, but that easily discernable look on Deanie’s face as she things that she could have had this life with him, then accepting that she doesn’t and then a sort of elation (in Natalie’s own subtle way) that she doesn’t. One isn’t naturally inclined to identify surviving with being courageous, but I like to think of Deanie as more than just a little courageous. And how can you not love Natalie in her greatest performance?

        

Do people ever remember that Warren Beatty is a good actor? I know it sounds like a silly question, and given. The man has done excellent work in Splendor in the Grass, Bonnie & Clyde, Shampoo, Heaven Can Wait and on and on. But I often wonder if we really remember that he’s that talented. Sometimes I wonder if he remembers. He’s now become an icon, and he doesn’t do much work. Sure, his directorial talents are impressive, but I always remember Warren as an actor before I think of him as anything else. Like so many of the good actors of his time, Beatty was excellent at playing a particular type, and in many ways this type was not too far from himself – the brash (young) man who eventually underwent an epiphany of sorts. I always accredit Reds with my favourite Beatty performance. It is a credit to Beatty (and the rest of the cast) that with all going on in Reds (fictional and authentic) that they never get lost beneath the mire of information. In some ways I’d call this my favourite Keaton performance too, even if I do prefer her generally as a comedienne. And has Jack ever been so good without being Jack? It’s a good question. The sole Oscar win (acting) for Reds was in Maureen Stapleton. In some ways the role was almost a cameo. It’s not the best performance in the film, but I never can dislike the win. Always a talented performer, Maureen shows up and does what she needs to do – and does it excellently.

I often wonder what drew Beatty to tackling a project like Reds. The film functions as a history lesson as much as entertainment, but unlike so many films with the same intent it never does it tediously. It’s difficult to put it in a box, and I often wonder if that’s the reason it’s become so forgotten. How many persons remember Reds today? Along with I think it represents the best of films from 1981 – I never was fond of eventual Best Picture winner Chariots of Fire. Reds did go on to win a director statue for Beatty (his only competitive Oscar win) – so it’s not like it was completely hated. Still, I always feel that something of this scope deserves more. Hopefully placing it at #36 on my list of favourites I’m doing my bit to level the playing field.

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...

Had he been alive yesterday, would have been the birthday of the great Elia Kazan. So in honour of this I decided to feature a write-up of one of his films which also is a part of my top 100 – Splendor in the Grass. Ranked at #61. Splendor in the Grass is a movie about sex…well about as much as a movie in 1961 could be about sex. The film is from the sixties, but the story is not archaic. Deanie and Bud are the ‘it’ couple at their high school. Deanie is a good girl and the film opens one night happening upon a passionate make out session in the back of Bud’s car. Yes, it’s the sixties, but this film is credited with the first onscreen French kiss, just so you know. So it’s that kind of movie. Of course Deanie isn’t sure where she wants this to lead and she rebuffs her boyfriend’s overt advances. A sexually frustrated Bud drives her home. Deanie and Bud are from opposite sides of the tracks. Deanie is the daughter of a weak store owner controlled by his wife. Bud is the son of the most prestigious family in the area. His sister is notoriously lost cause even having an abortion back in her day, so the family’s hopes rest on him.

                                                                                   

The basic conflict of the first half is the ‘will they, won’t they’ debate. It’s clear that Bud and Deanie want to have sex. And with how Elia Kazan shoots the film it seems there would be no better solution but for them to just do it. But this is the sixties, and Deanie’s mother is nothing if not clear. She tells her daughter “Your father never laid a hand on me until we were married. And, then, I—I just gave in because a wife has to. A woman doesn't enjoy those things the way a man does. She just lets her husband come near her in order to have children.” How incredibly primeval. It’s downright scary. Needless to say, they don’t have sex and when at his father’s advice Bud finds a girl to satisfy those physical pleasures…well, it doesn’t turn out too good. Especially for Deanie.

Natalie Wood is on fire in this film. She earned an Academy Award for Leading Actress and the film also won the Award for Original Screenplay. I figure actually that Wood should have won the Oscar, though I haven’t seen the winning performance. What’s even more unfortunate though, is the lack of love for this film in the main categories. Eliza Kazan is ignored and it’s not difficult to see why. Not only does this film push the envelope when it comes to sex in the movies [Boy, if they could see us now.], but this is a high school flick and we all know the Academy must maintain its standards. But even they weren’t giving it a nod for Best Picture, a Best Director nod was wholly deserved.

                                                

It’s impressive that this was Beatty’s first performance. As good as his directing work is I always think he’s a better actor. He and Wood are sweltering together and no doubt the audience is affected by those two hours of sexual tension. I may be incredibly wanton but I can’t help but think had they just jumped into bed Deanie and Bud would have been way better off. Kudos to Elia Kazan for directing one of the few (only?) high school films where it seems that having sex really would have solved the problems.

                                                   

The title of the film is inspired by one of the lengthy Wordsworth odes. The famous lines read “Though nothing can bring back the hour Of splendour in the grass, of glory in the flower; We will grieve not, rather find Strength in what remains behind;”. Every time these lines were mentioned in the film there seemed to be an especially sad feeling about. The name of the film is no accident. As that last shot of the film falls and Deanie rides off in the car, we know that she and Bud will never experience those moments of splendour in the grass. And William Inge’s screenplay is bitterly ironic. The comfort that remains is inadequate at best.

                                                

First Group
Spencer Tracy
Peter O'Toole
Warren Beatty
Richard Burton
Jude Law
Leonardo DiCaprio
Ralph Fiennes

Second Group
Cary Grant
Christopher Walken
Daniel Day Lewis
Marlon Brando
James Dean
Brad Pitt
Jon Voight
Ed Harris

Group Three
Montgomery Clift
Johnny Depp
Anthony Hopkins
Sean Penn
Russ Tamblyn
Albert Finney
Jack Lemmon
William Hurt
Dustin Hoffman
Philip Seymour Hoffman