This is a classic romantic comedy of the studio era (an MGM production): not quite a screwball but with touches of that genre. The centre of the film is a captivating performance by Katherine Hepburn as socialite Tracy Lord. In fact Hepburn had appeared in the original Broadway production of the play by Philip Barry. That other unconventional Hollywood figure, Howard Hughes, bought the rights to the play and presented it to Hepburn. So she was able to pick the director, George Cukor, and also have some say in the casting.
The cast is splendid. Cary Grant is ex-husband C. K. Dexter Haven, rather less virtuous than his ex-wife Tracy. James Stewart is journalist Macaulay O’Connor, playing the role lightly in the period before filmmakers discovered his dark side. And he is accompanied delightfully by Ruth Hussey as his photographer Elizabeth Imbrie. The plot revolves around Tracy’s planned second wedding to George Kittredge (John Howard) safely contained within the Hays Code. The principals are at times very funny, at times very charming. The supporting cast is excellent. My particular favourite is William Daniel as Sidney Kidd, publisher and the employer of O’Connor and Imbrie. It is his machinations which propel much of the plot and which also provide a fine final moment to the film.
Hepburn had good taste in directors, in this case George Cukor. Among Cukor’s talents was the ability to bring out full and distinctive characterisation from female stars. And he is working with a number of other fine craftsmen, including Joseph Ruttenberg on cinematography and Franz Waxman providing the score.
The film was an undoubted success, something that escaped Hepburn in a number of her earlier starring roles. It received six nominations for Academy Awards. James Stewart walked off with the Best Actor Oscar. The writer Donald Ogden Stewart won an Oscar for Best Adapted Screenplay. His success was curtailed within a decade as he was one of the victims of the Hollywood Blacklist.
The property was remade in 1956 as High Society. It is not in the same class but, as a musical, it does have some fine numbers. Now it will be possible to see the original this coming Saturday (June 18th) at the Hebden Bridge Picture House. It seems the film will screen in its original format, Academy ratio black and white 35mm: it will look all the better for this, though it also has a 1940s mono soundtrack.
Apologies, it seems the film is screening from digital.
Sadly Alan Rickman ended his career last month. He was one of the most interesting actors in British cinema in recent decades. His prime acting focus was the theatre and he bought to film the craft skills common among thespians trained for this medium. Among the accolades awarded him was ’46th best villain in film history’. A notable achievement when measured against the like of Jules Berry, James Cagney, Robert Ryan or Ann Savage.
He attracted notice first on film as a villain: Hans Gruber in the original Die Hard(1988). The sheer aplomb of his follow-up to a demand to release terrorists in jail, ‘I read about them in Time magazine’ makes it stand out in the film’s dialogue. His film follow-up as the Sherriff of Nottingham in Robin Hood Prince of Thieves (1991) was equally memorable. Who would not vote for a politician with a policy to ‘Abolish Christmas’. Rickman himself is quoted as saying ” I don’t play villains, I play very interesting people.” His villains were certainly were more interesting than the heroes they combated. Rickman had that assurance, found amongst really fine actors, of being able to pitch over the top and be effective.
He was also voted among the ‘sexiest screen actors’ in another poll. One thinks of his Colonel Brandon in Sense and Sensibility (1995), who has so much more oomph than the character in the Austen novel: indeed more oomph than his film rival John Willoughby (Greg Wise). He was also good at very serious drama. He and Juliet Stevenson were memorable in the very fine Truly, Madly Deeply from BBC’s Screen 2 in 1990. And in a totally different vein he was the passing stranger/Samaritan with Sigourney Weaver in the Canadian Snow Cake 2006. The same year saw him as the angst father, Richis, in Perfume: The Story of a Murderer.
Since I only saw the first of the Harry Potter film adaptations I missed his Severus Snape in the several episodes of the chronicle. However, I really enjoyed his Alexander Dane in Galaxy Quest (1999) – I can actually watch Star Trek now with a quiet smile.
Happily the Hebden Bridge Picture House is offering a tribute with a screening of Blow Dry (2001) in which Rickman plays the hairdresser competing in a major Championship. A plus, the film is set in Keighley, seemingly a popular location for British films. This is one of those comedies with its own distinctive British flavour: scripted by Simon Beaufoy of The Full Monty (1997) success. And Rickman plays opposite another lost British actor, Natasha Richardson. Moreover, on this occasion the film is screening in its original 35mm format.
This Warner Bros. classic from 1942 is a film to visit and re-visit. It has a starry cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sidney Greenstreet, Peter Lorre and [notably] Dooley Wilson. This is an example of ‘classical cinema’ as set out by David Bordwell and Kristin Thomson. That is mainly due to the equally starry production team marshalled by producer Hal Wallis and director Michael Curtiz. The leading lights were writers Julius J. Epstein and Philip G. Epstein with Howard Koch, cinematographer Arthur Edeson, art designer Carl Jules Weyl, editor Owen Marks and composer Max Steiner.
The film offers amongst its many pleasures ‘As Time Goes By’ played one more time and a rousing rendition of the Marseillaise. There may be a doomed romance but there is also the start of a beautiful friendship. And there is that memorable motif, an ellipsis followed by a cigarette. Less typical of Hollywood, the wartime propaganda manages to reference the Spanish Civil War in its antifascist mode.
For the pleasures of seeing it in its original format visit the Cottage Road Cinema in Leeds this coming Wednesday at 8.15 p.m.
I didn’t think much of American Hustle, but I liked The Fighter and David O’Russell’s 1999 film 3 Kings. Joy seems to have had very mixed reviews and has been treated as almost an independent film with a reduced release. It hasn’t been a massive box office success and its IMDB rating reflects audience disappointment. I wondered about seeing it but it does feature Jennifer Lawrence in the lead and she’s always watchable. So, I ended up as the sole audience member in a tea-time showing in my local 300 seat cinema. The manager even came into the auditorium to see if I was OK and to offer me blankets for the cold. And it was cold. But I still had a good time.
I’d heard radio reviews and read press reports that this was a mish-mash – several films jumbled up etc. etc. But I thought it was totally coherent with great narrative drive and 124 minutes sped by. Perhaps I was simply mesmerised by Ms Lawrence? I guess the film is a form of biopic about Joy Mangano, the inventor of the Miracle Mop and other products for her company Ingenious Designs and subsequently an important presenter on the Home Shopping Network. I knew nothing about this so I think I followed the narrative that Russell and Bridesmaids writer Annie Mumolo created without every worrying about its ‘fidelity’ as a biopic.
What did strike me was the way in which Jennifer Lawrence completely controls the narrative – and dominates every scene. Given the strength of a cast that includes Robert De Niro, Isabella Rossellini, Diane Ladd and Virginia Madsen (and later Bradley Cooper) that’s no mean achievement. At one point I thought to myself, “she’s got it” – the star image of the great female icons of Studio Hollywood. This could be Barbara Stanwyck or Joan Crawford. I was pleased to find these thoughts echoed by Graham Fuller in Sight & Sound (February). As Fuller points out, Russell presents a strong woman without the need of a love interest (the suggestion of how she might feel about the Bradley Cooper is at the end of the film and doesn’t drive the narrative). There is a brief moment where crime/physical/judicial jeopardy is a threat but other wise she is Joan Crawford in Mildred Pierce sans sex and crime – and still riveting to watch. What does drive the narrative is her dysfunctional family and the shenanigans of small-scale manufacturing as an entrepreneurial activity. Since the ideological discourse of the film is about entrepreneurs and the American Dream (with an anecdote about David O. Selznik and Jennifer Jones underpinning Joy’s determination to make it) I should feel antipathy towards the film, but identification with Joy takes over. Fuller is again on the money with his reference to Erin Brockovich and perhaps what is attractive is the class struggle embodied in the narrative. The time period of the film did not feel very specific to me, partly because Russell uses such a wide range of popular songs and music from TV and films. I was quite happy watching the film as if it was a 1970s blue-collar film. The factory that Joy sets up reminded me of various films, including The Pajama Game (1957) with Doris Day and, much more recently, the sweat shop in Real Women Have Curves (2002). Watching various trailers and online promotional features, it’s evident that Russell had the rights to a lot of music material, some of which he uses very well. I was most affected by his use of ‘Expecting to Fly’ by Buffalo Springfield, but also puzzled by the preponderance of music from the 1950s, 60s and 70s. Is there some kind of commentary on Joy’s story in this?
I’m not sure why the film has been criticised for jumbling different genres. Perhaps it is the narrative strategy that allows Joy’s grandmother to have a voiceover narration or her mother to dominate the narrative at times via her immersion in soap opera worlds as a form of escape. Both these seemed fine to me as aspects of the influences, positive and negative on Joy’s story. The film is frequently referred to as a comedy. I suppose it is, but for me it was more like a melodrama. Two other thoughts that don’t seem to have got much attention elsewhere. One is the confirmation of the ‘women’s picture narrative’ via the best friend, Jackie (Dascha Polanco) whose action at a crucial point saves Joy. The other is just to mention Édgar Ramírez, the Venezuelan actor who plays Joy’s ex-husband. I knew I’d seem him before and I later realised he was Carlos in the Olivier Assayas film about Carlos The Jackal.
I’m sure that there is a lot more to say about Joy and I would be interested in it as a student text – except it’s rather long at 124 minutes (though it isn’t too long as a narrative). In the third image above, you can get a flavour of the ‘overdetermined’ nature of Russell’s imagery. Having dealt with the opposition, Joy in her aviator shades, leather jacket and rough cut hair peers in a Christmas shop window in downtown Dallas. She looks at a Christmas display of a trainset with scenery and models as artificial snow falls from above the window (an interesting invention in itself). Joy is thinking about the world she created out of paper cut-outs, damaged in a row between her parents. I think it was Nat King Cole on the soundtrack and for me snowflakes always make me think of Citizen Kane. There are many commentators online who thought that Joy was boring. I despair.