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Wednesday, 24 March 2010
When I posted that new banner for my site I just happened to solicit your guesses for the origin of the picture. Little did I know that you all would be totally clueless to the film. I'm actually smirking, because nothing pleases me more than keeping secrets (but not for long).
So,because I'm me and I like to lead you on sound off below in the comments. The winner will get bragging rights (that's really all I can give you).
The argument began here, so just for some hints. It is NOT Mrs. Brown, Bright Star, The Assassination of Jesse James By the Coward Robert Ford...and it's a film from the 90s. And because I'm not completely unfeeling the film begins with all green. That's a really big hint, so happy guessing.
There’s a slight conceit that occurs where certain actors are concerned. They become perceived as so important that any role they take on that’s features in a particularly solid film is seen as Oscar begging. On a conscious level I suppose every actor would like an Oscar, but I sincerely doubt that actors spend their waking moments plotting how to get one. It’s simply an occupational hazard when X role seems “made for Oscars” and even though they don’t all succeed in their ostensible quest – that doesn’t make them any less valuable. The initial backlash against this film was harsh, but hopefully in years to come it will be remembered more fondly.
#3 Kate Winslet in Revolutionary Road (2008)
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The first time I saw Revolutionary Road I was floored. I will continue to maintain that it was one of the most brilliant relationship dramas of the last decade. Winslet stars as April Wheeler. It’s somewhere in the fifties and the bleak mundanely of the surroundings are stifling this woman who once upon a time dreamed of being bohemia and becoming an actress. The film forces her to start out on a high as she exchanges tense words with her husband Frank (an excellent Leonardo DiCaprio). I suppose a simplistic way to describe April would be frigid and if we watch Kate in those first few moments we’d agree. Her line readings are so caustic and there’s an impenetrable (almost inhuman) expression on her face as she rebuffs the advances of her husband. But it’s upon closer expression that we realise just how much of a mask this cold exterior. April is just as immature and emotionally regressive as her husband. She just has a different way of coping. It’s something Kate understands and elucidates cleverly.
A particular scene that sticks out for me is the one where April breaks her fresh idea to Frank – the trip to Paris. As Frank comes home tired and almost gaunt and April (ignorant of it all) is so delighted, so ready to forget the past and celebrate his birthday the eagerness on her face is sad, pathetic almost. As she reassures Frank of his importance in the world we hear the unsaid words too. She’s really telling him that if he’s not important then she’s not important either, for what is it to be the wife of an unimportant slob? It’s an earnestness that is striking, an earnestness that makes the harshness of Revolutionary Road even more disheartening. Kate is careful to define her character as time goes by, but never overdoes it. April is not exactly a reactive character, but isn’t all acting reacting? It’s interesting to watch Kate as she reacts to the odd one out in the cast. Notice how Kate defines her character in those two pivotal visits of John. In the first April is still under the delusion of breaking free and even as she is repulsed by this man, she’s still strangely fascinated. But it’s the second moment which thrills me. It’s more of a moment for DiCaprio, but there’s a long take where Kate has no lines but just sits with a cigarette between her fingers – silent. It’s a chilling moment, and so controlled. You can’t take your eyes off her.
But at the end of the day, Revolutionary Road is a story about the Wheelers and Kate thrives opposite Leo. The final argument between the two is the one of the most piercing exchanges I can recall in recent cinema. Cold April is at her peak here as she savours the quotable lines: "I loathe the sight of you. You’re just a boy who made me laugh at a party once…”. Her hysteria is unsettling, but it’s the morning after that breaks your heart. As she prepares her deathly deed and reaches out – for the final time – to her husband the skill of Kate is unquestionable. I can almost see her trying to tell him goodbye. The final call she places to her children is so poignant but Kate never goes for the obvious and plays it just right. She finds the humanity in her flawed character and turns it into brilliance.
Unfortunately Kate’s work in Revolutionary Road was ignored by Oscar, but do you think it’s worthy?
This guest post is provided by Luke Tatge of Journalistic Skepticism. From a distance he seems like your typical Streep fanatic, but he's actually more than that. You'd do well to have him on your blog roll.
Ah, the struggle of poor suffering TV actors. Their work is hardly as respected as that of the film or stage stars, yet they soldier on with weekly installments of often beloved characters. When it comes to the transition from small to big screen work, which seems inevitable at one point another for most television stars, it can be a treacherous path that rarely bears any fruit.
In the early years, it was basically understood that TV stars (possibly due to the strict studio guidelines at the time) were basically stuck with the tube when it came to finding work. Take Lucille Ball, for example – one of the biggest stars of her time, and yet she was relegated to playing varying versions of the “Lucy” character for most of her career (with the exception of a couple barely noted films).
So how do more recent TV stars fare when it comes to the big step into moviedom? Unfortunately, not so well in most cases. Arrested Development’s Jason Bateman has moved on to plenty of film work since the show wrapped, but he is mostly pushed into sideline roles. Even in the high-profile Juno, who even remembers the gifted TV star was in the cast? It seems like Lucy, he’s been pushed into playing a variation on Michael Bluth in most of his subsequent roles.
Sharp-tongued Rory Gilmore (a.k.a. Alexis Bledel) has had about the same amount of luck – any work she’s done since the show ended has been unanimously trounced (Post Grad) or ignored due to her co-stars (Sin City, Sisterhood of the Traveling Pants). It seems these TV stars just can’t shake the persona that was so ingrained into the public week after week.
There are glimmers of hope, though. For people like Freaks and Geeks alums Jason Segel and James Franco or Cheers alum Woody Harrelson, film isn’t so out of reach. It seems the best route is to either stick with your crew and succeed or fail together or go for awards-bait roles. Although a word of caution – though folks like Mary Tyler Moore and Helen Hunt found break-out Oscary roles in 1980 and 1997 respectively (Ordinary People and As Good As It Gets), they’ve hardly enjoyed much of a career in film since.
So until Lisa Kudrow can shake Phoebe Buffay, Sarah Jessica Parker can shake Carrie Bradshaw, and Eric McCormack can shake Will Truman, how does a TV star stand a chance in the wide world of movies? Give them a chance to surprise you.
Luke's thoughts are provocative. Why do you think it's so difficult for the television actor?
Tuesday, 23 March 2010
I really should do these posts regularly, but I'm too lazy - and my sidebar is so full of blogs - you can do the work can't you. Anyhow, I'm pointing the way to a few recent posts that have tickled my brain in some way.
Luke gives a lovely, musical post. I'm not sure how to describe it though, but go ahead over there. It's excellent, though
Mike examines some conundrums of the blogger/reviewer.
Kurosawa fanatic Univarn reviews Seven Samurai ending his month long devotion to the director. I really should get more au fait with Kurosawa's films. Anyone else out there love the guy?
Miranda, Tim, Danny and Mad Hatter each offered up their thoughts on The Runaways.I'm still not sure I want to see this, it's just not enticing me. Still, even though I don't LOVE Dakota Fanning I hope her career goes well.
Jose's returned from Mexico where he had the time of his life apparently, luck bastard (said with endearment). Here's what he thought. Times two.
Nicholas is one obsessed fan of Winslet. But who can blame him?
Joel does another excellent movie review, this time focusing on Oscar winner The Blind Side. Can I just say that even though I'd come to grips with it, when I saw that ad praising Bullock's performance I almost fell out of my chair, but oh well.
If this doesn't assuage your appetite look the sidebar where there are dozens more blog entries to peruse.
This is actually a repost from ages ago when only few were reading, but it's an interesting thought and I do like when bloggers participate in these meme like posts. I'm not ordering you, just gently cajoling. It's one of those weird "games" I thought of one day to pass the time...play along. The rules are simple, your answer must be a film - that's it. Be inventive, and you can give me the links to your prospective posts in the comments...I'll link them...
Gender: Iron Man
Describe Yourself: Dangerous Liaisons
How Do You Feel Right Now: One Flew Over the Cuckoo's Nest
Where Do You Live: Mean Streets
What's the Weather Like There: Purple Rain
Where Would You Like To Go Right Now: New York/New York
What's Your Biggest Fear: Atonement
Your Life Is A Film, Give It A Name: Defiance
What Will You Be Doing Today: Singin' In the Rain
Give Us A Piece of Advice: Wait Until Dark
So go ahead, and do the deed. Be inventive!
Jude fills out the survey...
Simon does the same...
Luke goes classic on my, sort of
Mike's choices actually make sense
Robert fills it out, I won't like to be living where he chose though
Peter Chan probably gives the best advice
Anna continues the trend with some inspired choices.
Jude fills out the survey...
Simon does the same...
Luke goes classic on my, sort of
Mike's choices actually make sense
Robert fills it out, I won't like to be living where he chose though
Peter Chan probably gives the best advice
Anna continues the trend with some inspired choices.
I've got a new banner up (again, yes). It's a pretty simple question, but do you recognise the film?
Some actors are just easily forgotten. It matters not whether they land a leading role or a plum supporting part; it seems that they just end up being pushed to the sidelines. It becomes even more difficult when the film you’re starring in becomes forgotten too. I’ve long been a fan of this actor. He’s a favourite of mine actually, and this performance represents the pinnacle of that appreciation.
#3 Ethan Hawke in Before the Devil Knows You’re Dead (2007)
I’m not sure if Hank, or anyone in the film, is as morally corrupt as the narrative suggests. Sure, after some cajoling he agrees to rob his parents’ store with his brother, and sure he’s involved in an illicit affair with said brother’s wife, and yes he does make off with quite a large sum of money while his family is destroyed. Still, I’m never moved to indict him. Ethan has a sort of naïveté that when riddled with his adult whimsies only make him more pathetic. Because, like Hank is emotionally stunted. We see it as he lets his brother rules him, as he clings – almost manically to Tomei’s Gina and as he gives in to his desires as the film ends.
It’s easy to forget Ethan. Did you see Before the Devil Knows You’re Dead? Were you impressed with him?
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