My Week with Marilyn gets “it” Right

YEP YEP - Marilyn Monroe was the ultimate “it” girl. If sex really does sell, then Monroe was the Henry Ford, Ray Kroc, and Steve Jobs of movie mojo magnetism.

My Week with Marilyn is adapted from Colin Clark’s, The Prince, the Showgirl, and Me, a memoir chronicling the young Brit’s experience working as the third assistant to the director on Monroe’s collaboration with the legendary Sir Laurence Olivier.

“He is a great actor who wants to be a great film star,” Colin (Eddie Redmayne) tells Monroe at one point. “You are a great film star who wants to be a great actress. This film won’t help either of you.”

That pretty much sums up the narrative conflict in the film. But the nuts and bolts of this thoughtful and touching bio-pic is what is widely already known about the tragic icon who died way too young. She blew up like an atom bomb in an industry of opportunistic men who tripped over themselves to exploit her neediness for male attention.

Williams is excellent as Marilyn Monroe, capturing not only her sensitivity and insecurity, but bringing to life the playful quality that made her such a star.

The film is mostly about Colin Clark’s brief trist with the star, but the element I found more interesting is how seriously Monroe took her Method acting training, traveling with Lee Strasberg’s sister, Paula (Zoe Wanamaker), to ensure constant technique counsel. All of which drove Olivier nuts. Kenneth Branagh plays Olivier convincingly; both infuriated by her tardiness and Method babble, and enviously captivated by how she comes to life on-screen on a level seemingly out of his reach. Inside baseball stuff, but all handled really well by director Simon Curtis.

My only criticism of the picture is the script’s treatment of legendary photographer and Monroe confidant, Milton Greene, played roughly by the numbers by Dominic Cooper. Greene was not only a trusted ally and friend of Monroe’s, but was the single most significant photographer responsible for some of the most widely recognized and beloved Marilyn images – images that cinematographer Ben Smithard set out to pay homage to in several moments throughout the film. From My Week with Marilyn you would learn next to nothing about Greene, who comes off as a scorned lover and pill pushing sycophant.

Nonetheless, it’s a very sweet and flattering tribute to a larger than life Hollywood icon. What Marilyn Monroe had you can’t teach. What she sacrificed to be loved cost her everything.

El Norte Still Speaks Volumes

It’s a film my wife had been pestering me to see for years. Blockbuster online listed it always as a “very long wait.” Hate that.

It was released the year I graduated from high school, so no wonder it got past me. I had bigger fish to fry. Like cracking my first Pabst Blue Ribbon shortie and coordinating a summer road trip to Madison.

Illegal immigration was not really on my radar. All the Canadians I met seemed like nice enough folks, and man they could play some hockey.

El Norte (1983) was directed by Gregory Nava. His script was nominated for a Best Original Screenplay Oscar.

It tells the story of a brother, ‘Enrique,’ (David Villalpando) and sister, ‘Rosa’ (Zaide Silvia Gutierrez), fleeing Guatemala after the brutal murder of their family. Their journey is a rough one, eventually landing them in a rat-infested sewer tunnel taking them from Tijuana to San Diego. The film was shot on over 100 locations, accentuating the “journey of the Americas,” the “mestizo.”

Rule #34 in the Lars Beckerman handbook clearly states steering clear of political banter. Not always easy in this highly charged partisan atmosphere.

Of the big issues on the table at present, illegal immigration is for me the most complex. Turmoil and oil costs in the Middle East? I tend to agree with our President: speak softly and carry a big stick. We only differ on the size of the stick. Universal health care? Here, I disagree with our President. I think we all can recognize that at its core there is a relatively small amount of American citizens in our multi-car, multi-cell phone, flat screen society that need government sponsored one-size-fits all “free” health insurance.

But immigration, illegal and legal, is a policy discussion that effects a massive chunk of our economy, and wreaks havoc on too many of our families. Living in the shadows, always fearful of being deported, must be incredibly stressful and degrading.

What I admire most about El Norte is the integrity of the plight to a better life, which included, without apology or pandering, an eagerness for assimilation into American society. The immediate recognition that hard work pays dividends, and upward mobility is available to all.

Some things will never change. Oppressed people will always do what they have to do to get out from under dictators or totalitarian regimes. Look at what is happening in South Korea this past year. The flight of so many dissidents from the North, many resulting in the agonizing conclusion of being sent back to a government that will not forgive.

Much of the imagery of El Norte was inspired by Diego Rivera. Many shots reminded me of Frida Kahlo. The entire first act is lit primarily by kerosene lamps and candle light, emphasizing a third world origin, void of electricity and modern civilization.

This contrast accentuates the startling cultural differences; and for me, the things we take for granted. Electricity. Telephones. Plumbing. Toilets that flush. Police who don’t shoot you on sight.

Director Nava describes El Norte as classic pre-Colombian mythology, with dueling protagonists, the story of the man and the woman. The class theme of rich and poor is heavy in this film (“rich only view the poor as a pair of arms that work”), but the sustaining message of El Norte is family and survival. The two young actors deliver sensitive and thoughtful performances.

I don’t know anyone who is against legal immigration. People from all over the world continue to crave for and dream of making it to the United States of America for a better life. That should make all of us who are blessed to call this our home proud. The sticking point for most Americans on this enormous problem is the simple philosophy of assimilation. 

Project X this Generation’s Risky Business? What a Shame

I wonder some times about the “adults” in Hollywood and whether or not they recognize the damage they are doing. MTV is the easy whipping boy for this argument. What once was an ultra fresh outlet for music fans to tune in to and check out the latest music videos from their favorite artists became a not-so-soft porn site for teenaged fetishes and fantasies. All under the adult supervision of network execs who saw a market for their low brow drivel.

The ratings system has failed parents. We all know how competitive the market is for snagging consumer’s discretionary spending moolah; how specific the demographic research is to aim a product at as wide an audience as possible. In other words, if something is PG-13, the Hollywood folks really want the 9-12 year olds to crave it. If something is rated R, they are banking on the fact that 13 on up will do what it takes to get their eyes on it.

So a film like Project X is really aimed at early teens. The whole forbidden fruit human nature reality. And when you look at a film like this through that prism, you wonder how these producers and “filmmakers” sleep at night. Don’t they have children?

I’m not going to bother with seeing this film. But, here is the Los Angeles Times review. For my readers outside of Cali, the L.A. Times is an extremely liberal newspaper.

Once upon a time there was an innocent little movie called Risky Business. A high school boy (Tom Cruise) throws a party to end all parties to help his pal pay off a sleazy pimp named ‘Guido’ (Joe Pantoliano). Then he falls for ‘Guido’s’ main squeeze (Rebecca De Mornay), and the two consummate their relationship to Phil Collin’s “In the Air Tonight” on a subway. Raunchy premise? Sure. But at its core, Risky Business is an excellent coming of age story that has just enough sweet boy-meets-girl to make it almost romantic. This film even managed to give us an iconic film moment, Tom Cruise sliding into frame in his boxer shorts and air jamming to Bob Seger’s  “Old Time Rock N’ Roll.” 

Our kids get Project X. I wasn’t a big fan of Superbad or The Hangover, but my guess is Project X makes those two look like The Godfather I & II.

Again, not gonna see it. I’ve seen all I need to see in the seemingly endless media blitz. So here’s another review.

Of course our kids want to see Project X. They also want to eat ice cream all night, wear dirty underwear (the boys anyway), blow off school, and go to McDonald’s every day for lunch and Del Taco for dinner. Hey, sounds like a great premise for an MTV show.

Call it Parents Gone Wild.

Anonymous, So Sayeth They

YEP YEP – It’s friday night, and, assuming your local “video” store is still in existence, you might be heading out to find something to settle into with a large bowl of the salty stuff.

I have a good rental for you.

I will admit I have a blind spot when it comes to the history of England and its Royal lineage. You could tell me that Henry V was the brother of Elizabeth II, and I’d say “Yeah, that sounds about right.” Or that the Earl of Essex was the illegitimate offspring of Richard III and the half-brother of Prince Horatio Fragbottom of Canterbury Lane, and I’d say “Yep. All true.” I might even add “And wasn’t he the Duke of Yorkshire’s racquetball partner?” Just so I would sound like I know my Royals. See me workin’?

So, when I dive into this genre – and there have been several films over the years that I have thoroughly enjoyed – I do so with a premeditated detachment.

In the case of Anonymous, we are not only dealing with all of these mental gymnastics, we are dealing with the long held rumor that William Shakespeare was nothing more than a front man. A patsy. A pseudonym, if you will.

Blaspheme? Maybe. But we have no Snopes or YouTube to confirm, so…

Produced for a modest budget of $30m, directed by Roland Emmerich (Independence Day, Godzilla), and shot by Anna J. Foerster (Independence Day, Godzilla), with production design by Sebastian Krawinkel (Inglourious Basterds, V for Vendetta, Bourne Supremacy), Anonymous is a very impressive visual film – much of it visual effects, but they are seamless. The script, by John Orloff (wrote two episodes of Band of Brothers), is also well-crafted and insightful.

Amazingly, neither Cate Blanchett nor Dame Judy Dench appear in this movie. But, what film about the Bard would be complete without Derek Jacobi, who bookends the narrative, non-linear structure of the story, by breaking the fourth wall and serving as tour guide for the scandalous shenanigans that may have taken place way back in the middle 1500s.

Rhys Ifans is excellent as ‘Edward de Vere, (a.k.a. the ‘Earl of Oxford’), apparently the man who should get credit for such hits as Romeo & Juliet, Twelfth Night, and Macbeth. But, to quote one of my favorite Monty Python moments. “Let’s not bicker and argue over who killed who.”

Bottom line, if you’re a fan of William Shakespeare, and I’m pretty sure there are a few of us left, this is a must see; if, for no other reason, than the film does transport you believably to the time and place – and the poetic words of the master are on display. Regardless of who may have written them.

Act of Valor All That and More

INSPIRED - The only real buzz I heard about Act of Valor before its release last week was that it starred real life Navy Seals, not actors. While this is indeed true, this film is much more than a novelty trick. It is not only as authentic a portrayal of U.S. Special Forces combat as you will ever see, it’s a darn good film, expertly directed and edited by folks who know what they’re doing.

As I was watching Act of Valor, I kept thinking of the trailers that ran before it. Various action flicks starring guys like Bruce Willis, Jason Statham, and new kid on the action franchise block, Jeremy Renner. Even a Desert Storm tear jerker starring none other than teen heart-throb Zac Efron. Would Act of Valor have been better with any of those film “stars” speaking the words and pretending to shoot those guns and infiltrate hot spots? Answer simple: HELL NO! Okay, maybe Renner.

No, the acting is not going to win any awards, and some of the dialogue exchanges are stiff; but all of it comes from the heart, and just knowing that these guys are not only doing all of the tactical work in the film, but are capable of this type of heroic activity around the world makes the viewing experience a genuine thrill.

Directed and produced by Mike McCoy, with stunt direction from Scott Waugh, with a budget of $15m, Act of Valor is already a box office success, bringing in $25m in its opening weekend. The theatre I sat in with my sons yesterday afternoon was near capacity. Yes, a mostly male audience; but the heart and soul of the story is about man’s dedication to his family, and that genuine emotion runs throughout the action without any false sentimentality.

The night before Navy Seal Team 7 sets out on their mission to recover a CIA operative taken hostage in Manila, the Seals stand around a beach bonfire. The leader of the team (none of the Seals are credited by name), tells his brothers in arms that they cannot go forward unless everyone is good at home. The belief that soldiers can’t go into battle wondering if they had been a good husband or father, wishing they had said something to a wife – or a child. Relationships, finances, obligations. Much of this we hear through very effective narration: “If you are not willing to give up everything, you have already lost.”

Act of Valor makes no apologies for its premise or its villains. The bad guys are radical Jihadist terrorists hellbent on murdering innocent civilians and ultimately bringing the American economy to a halt. How refreshing is that?

Robert Kaplan’s Imperial Grunts painted an optimistic picture of the future for U.S. military involvement in not only the Middle East, but hostile regions around the world. After being embedded with our troops numerous times, Kaplan’s assessment of our tactical potential, and the quality of the men and women we train for engagement, is flattering to say the least.

Kaplan claims that our military technology and expertise has risen to such precision that we will no longer need large bases with thousands of troops “occupying” foreign nations. Our presence and influence can be exerted by small, highly specialized 12-15 man units strategically positioned to neutralize any global threats before they percolate.

After watching Act of Valor, it’s hard to disagree with Kaplan. It’s also hard not to put your hands together and let our troops know that we stand in awe of their commitment to preserving American values. The sacrifices made on our behalf should not require a film or official declaration or holiday to get our attention. But, we are spoiled in the grand old U.S. of A. and that’s okay. Our troops would have it no other way.

If you are looking for a way to let our troops know you have their back:

The Wounded Warrior Project.

A Few Observations on the Oscars

I am definitely not in the camp that thought yesterday’s Oscar show was lame. I’ve read a lot of that today, and everyone is certainly entitled to their opinion. It does, at times, feel less and less like it is aiming to please a wide audience, and that the Oscars has become little more than an insider’s “you pat my back, I’ll pat yours’” schmooze fest. But, It’s still the Academy Awards and the 84th installment was more than watchable.

Great to have Billy Crystal back at the helm. His opening montage placing himself in the nominated films is always a blast. Not sure we needed his Sammy Davis, Jr. in the back of the Midnight in Paris carriage with the Beebs, but a minor complaint. The kiss with Clooney made up for it.

Speaking of Clooney, just me or has he taken over the throne Jack used to sit in? If that’s the case, nothing against George, but I miss Jack.

While we’re on the subject of Clooney, after all these many award shows, year after year since he blew up, have we seen him with any one companion twice? Just wondering if I missed something. What a cad. To quote Mel Brooks, “It’s good to be King.”

Hugo’s wins were warranted, and I’m a big Robert Richardson fan, but the film was in 3-D, and that should have a slight penalty built-in to the scoring system. Years from now scientists will prove with a study that repeated use of disposable 3-D glasses causes glaucoma. Or at least mild migraines. Not sure what the next technology will be but I hope it has nothing to do with mandatory eye wear.

Octavia Spencer was genuinely moved during her moment of acceptance. She is yet another example (Philip Seymour Hoffman, Ernest Borgnine, Brenda Fricker, John C. Reilly), that character actors are just one role away from pay dirt.

Along those same lines, The Descendants award-winning adapted screenplay was co-written by two local L.A. actors who have been roughing it in the trenches for years. Pretty amazing to see Nat Faxon (an actor whom you’ve seen in over a hundred tv commercials over the years) and Jim Rash (yet another Groundlings Improv. graduate) up on stage clutching Oscars. Way to go, guys.

As much as I wanted Brad Pitt to win for Moneyball (partially cuz I also loved him in The Tree of Life), it was appropriate to give the statue to Jean Dujardin for an inspired and memorable performance in The Artist. There were a handful of moments that really gave me that great goosebumps feeling that we all look for in art. The scenes between Pitt and his daughter (Kerris Dorsey), both in the guitar store, and the final scene with him tearing up to her recorded song in the car, were incredibly touching. Equally sweet were the moments between ‘George Valentin’ and ‘Peppy Miller’ in The Artist. One, where he gives her the beauty mark he says will separate her from the pack; and then watching the two of them dance in the film’s finale. Big ol’ smile on my face. Good stuff.

The Wizard of Oz market research group was classic. Who knew Fred Willard liked monkeys so much? Something tells me the idea came from Christopher Guest.

I enjoyed the Cirque du Soleil bunch, but at what point should the producers examine the night’s scheduled events and make the wise decision to not cut off an acceptance speech. I suggest they start looking elsewhere to crunch the ad numbers and make it work. Who knows how many memorable moments we’ve been cheated out of over the years by artists who finally got their validation and were on the verge of a genuine recognition of it all, only to be rushed along like some poor slob at a Sizzler buffet. Trim the gags, let ‘em speak!

But some of the gags were good. Will Ferrell and Zach what’s his name on the cymbals could have lasted another minute in my opinion.

Meryl Streep deserved to win for her outstanding performance as British Prime Minister Margaret Thatcher in The Iron Lady. I even loved her acceptance speech, might have been the best of the night. But I find it a little inconsiderate when actors take on roles of real people and then don’t acknowledge them in the least in their speeches. Felt the same way when Charlize Theron got all uglied up and won the Oscar playing real life serial killer Aileen Wuornos in Monster. Not a peep.

All in all, very pleased with the way the night unfolded, and with the films and folks who won. Getting together with friends, talking about movies that moved us, comparing notes on actors and directors, music and muppets, artists we’ve lost and others who have arrived – count me in next year. And the year after that.

Oscar Predictions – Who Will Win and Who Should

Another outstanding year in film. So many memorable pictures, more than a couple worthy of Best Picture. When in doubt, though, as you plow through your ballot…go with The Artist. It’s gonna take home a bundle of statues.

FULL LIST OF NOMINEES

BEST ACTOR    I don’t get all the George Clooney hype here. Since when does wearing bad shorts and running in flip-flops constitute an Oscar caliber performance? For that matter, the performance I enjoyed most this year, Brad Pitt’s portrayal of Oakland A’s General Manager Billy Beane in Moneyball, wasn’t all that challenging either. Suffice it to say, neither of those mega stars could have pulled off what Frenchie Jean Dujardin accomplished in The Artist. Sure, Clooney gets compared to Cary Grant a lot, but Dujardin was equal parts Rudolph Valentino, Douglas Fairbanks, and Gene Kelly. And for that, Dujardin SHOULD WIN and WILL WIN.

BEST ACTRESS    I loved Viola Davis. In Doubt! Ok, she was really really solid and obviously sympathetic in The Help, but the force of nature known as Meryl Streep delivered yet another chameleon sleight of hand as British Prime Minister Margaret Thatcher in The Iron Lady. Problem is, it’s just not that great of a film, and everyone liked The Help. So proceed with caution on your ballot here, but Streep SHOULD WIN and WILL WIN her third Oscar.

BEST SUPPORTING ACTOR   Must admit, I didn’t see The Beginners. Kept expecting it to show up in my mail box courtesy of the Academy. But it never arrived. I’m furious. But not so mad that I won’t go with the age-old flow here and insist that Christopher Plummer is a no-brainer. Put it this way, if Yul Brynner was still alive and showed up as a Russian mastermind in Transformers 4: What Ever Happened to Megan Fox, he would win the Oscar. I was stoked to see an old favorite of mine, Nick Nolte, nominated for his teary-eyed lush performance in The Warrior; Jonah Hill SHOULD WIN for his computer geek, number crunching role in Moneyball. But Plummer WILL WIN.

BEST SUPPORTING ACTRESS    I am still disappointed that Evan Rachel Wood was overlooked for her “this is what Clinton’s intern should have looked like” performance in The Ides of March. With her out of the way, however, Octavia Spencer is a lock for her #2 duty in The Help. Breakthrough star of the year Jessica Chastain SHOULD WIN because not only was she excellent in an otherwise cliché dingbat ‘Ellie May’ role in The Help, but she was purity personified in The Tree of Life. But Spencer WILL WIN, so don’t get nutty here.

BEST DIRECTOR    You will hear buzz leading up to the big show Sunday that the wildly respected and admired Martin Scorsese is going to win for his homage to film restoration, Hugo. First of all, he already won his honorary “how can this guy not have an Oscar?” trophy for the mediocre at best The Departed. Don’t get caught up in the foolishness. Michel Hazanavicius conceived and delivered one of the freshest and all-around sweetest films of the past half century. There will be no backlash. Hazanavicius SHOULD WIN and WILL WIN for The Artist. A masterful work of art.

BEST ORIGINAL SCREENPLAY    They will give this one to Woody. Midnight in Paris probably shouldn’t work as well as it does. But it jumps off the page and it’s one of Woody Allen’s best films – and that’s saying a lot. His very original script SHOULD WIN and it WILL WIN.

BEST ADAPTED SCREENPLAY     Last year he gave us the brilliant The Social Network. And it won him his first writing Oscar. Back to back is in the cards for Aaron Sorkin. Moneyball works on all levels, but mostly in its adaptation of a difficult subject matter to make cinematic. It SHOULD WIN and WILL.. I’m suddenly having a sinking feeling that The Descendants might take this. A script that is both over written and then under written. You know what, Sorkin won last year and the Academy will penalize him for that. The Descendants WILL WIN.

BEST CINEMATOGRAPHY    An argument could be made for the amazing Janusz Kaminski and War Horse, and the consistently innovative Robert Richardson for the visually stimulating 3-D Hugo. But this night will belong to The Artist, so put an ‘x’ next to Guillaume Schiffman. Kaminski probably SHOULD WIN, but Schiffman WILL WIN for nailing the silent film era frame by impeccable frame.

BEST FILM EDITING    This one goes to Hugo. It SHOULD WIN and it WILL WIN.

BEST SOUND EDITING   Drive would be an inspired choice here. But War Horse SHOULD WIN and WILL WIN.

BEST SOUND MIXING    War Horse SHOULD WIN and WILL WIN.

BEST VISUAL EFFECTS   Gotta go with Hugo here. It was almost worth wearing the obnoxious 3-D glasses. Almost! This one probably SHOULD go to Harry Potter and the Deathly Hallows Part 2, but Hugo WILL WIN.

BEST MAKEUP    Streep disappeared into the skin of Margaret Thatcher. Very impressive makeup job. Tough call, with Albert Nobbs and Harry Potter in the field, but Mark Coulier and J. Roy Helland SHOULD WIN and WILL WIN for The Iron Lady.

BEST COSTUME DESIGN    The Artist and Mark Bridges SHOULD WIN and WILL WIN.

BEST ART DIRECTION    The Artist production team Laurence Bennett and Robert Gould SHOULD WIN and WILL WIN.

ORIGINAL MUSIC     Ludovic Bource’s sweet stylings added to the brilliance of The Artist. He SHOULD WIN and WILL WIN.

BEST ORIGINAL SONG     Gotta go with the guy from Flight of the Conchords! But only two nominees? I still cannot believe “The Living Proof“ by Mary J. Blige for The Help was snubbed. She SHOULD HAVE WON! But the funny Kiwi from Conchords, Bret McKenzie, WILL WIN for “Man or Muppet.”

BEST FOREIGN FILM   A Separation won at the Golden Globes. So I think it’s a lock here too. Besides, it’s out of Iran and we all know how important it is to keep that lot happy. A Separation SHOULD WIN (civilization may just be at stake, people!!!!), therefore it WILL WIN.

BEST DOCUMENTARY     Your guess is as good as mine. I haven’t picked a winner in this category in over a decade. I did see Errol Morris’ most recent doc, Tabloid. Bizarre story to say the least, check it out. But it’s not nominated. I say go with the Earth Liberation one, sounds like a winner.

BEST DOCUMENTARY SHORT    Again, didn’t see ‘em. The Civil Rights barber one sounds kind of cool, but can it really beat out one with ‘Baghdad’ in the title?

BEST ANIMATED FILM    Now that my kids are older, I don’t have to suffer through every single animated film that is released. Sure, some of them are brilliant, but…only one I saw this year was Rango. Pretty fresh. It SHOULD WIN (I guess), and WILL WIN.

BEST SHORT, ANIMATED & LIVE    Hope they’re not on your ballot.

BEST PICTURE    No shocker here. If you didn’t like The Artist you probably should skip this year’s show. I am crazy about Terrence Malick’s The Tree of Life; and I absolutely loved Moneyball, seen it at least five times. Midnight in Paris restored by admiration for Woody Allen and had me laughing out loud; I sat in the front row with my two youngest sons for Steven Spielberg’s War Horse, letting it rush over me like a cinematic tidal wave. All four really unique and wonderful films that I will watch over and over for years to come. But make no mistake, this year belongs to, of all things, a silent film called The Artist. This super sweet, beautifully crafted film SHOULD WIN and WILL WIN the Oscar for Best Picture. Bravo.

Scorsese Pays Tribute with Hugo; Iron Lady Not So Much; A Better Life an Average Movie

YEP – Is Martin Scorsese’s Hugo worthy of 11 Oscar nominations? Probably not. But it’s still an above average slice of entertainment; and, for better or for worse, a film that needs to be seen on the big screen. In fact, the bigger the better.

The story is simple. An orphan boy works secretly in a train station’s clock tower and longs for a family to call his own. Ok, so maybe not so simple. You see, the boy’s father (Jude Law) was a watch repairman who dazzled his young son (Asa Butterfield) with gadgets galore, most notably an automaton that cranks out cryptic etchings. But only if you have the right key to fire the melancholy “robot” up. Hmmm. Where is that stupid key?

Oh, there it is! Around my new girlfriends neck. Whew! What relief.

Yep, the plot has a few convenient contrivances, and I’m in the minority here, but I can only handle so much Ben Kingsley.  I will admit the 3-D is pretty slick. I found myself reaching out to scratch Sacha Baron Cohen’s tootsies a couple of times. He was practically resting his sore dogs on my lap!

At its core, Hugo is Scorsese’s Cinema Paradiso. Not only is it a tribute to the cinema, but moreover it is a testament to one of the director’s passions: film restoration. A worthwhile endeavor, not a bad film, but man I am sick of wearing those stupid glasses. Enough already with the 3-D.

YEP - Stating that Meryl Streep is the greatest film actress of all time is no leap. Still, I had reservations going in to The Iron Lady. Mostly, because it was directed by the woman, Phyllida Lloyd, who brought us the silly train wreck Mama Mia! 

I was right to be concerned.

Tackling a film about Margaret Thatcher was surely a daunting task. Lloyd chose to tell the former Prime Minister’s political story through flashbacks brought on by her dementia and acute paranoia. Not all that flattering. But Streep is spectacular and a lock to win the Oscar, as are Mark Coulier and J. Roy Helland for their makeup work.

Much of the present day story line is told through imaginary conversations between Thatcher and her late husband, played with his usual panache by the consistently watchable Jim Broadbent. There are a few strong scenes showcasing  Thatcher’s ability to not only hold her own amongst the old guard in parliament, but even chop them off at the knees. Ultimately, however, it is a film that leaves the audience feeling pity for this monumental world leader, rather than admiration.

YEP - I’m guessing that A Better Life was inspired by the classic Italian film Bicycle Thieves (or The Bicycle Thief). If it wasn’t, it should have been. Much to learn from that one.

The Bicycle Thief was a simple but brilliant morality tale between a father and son. A Better Life is a simple, but not so brilliant, illegal immigration tale between a father and son that comes off a bit too much like an ABC after school special. It’s not a bad picture, just a little thin. Kind of surprising considering it was directed by Chris Weitz (About a Boy).

It did snag Mexican born actor, Demian Bichir, an Oscar nomination. Pretty amazing example right there of the American Dream. Give it a rent and tell me what you think.

No Doubt About it, this Guy’s Good

News flash here: Philip Seymour Hoffman is a good actor.

Cut from that unconventional Charles Laughton, Ernest Borgnine, Gene Hackman mold of movie stars, Hoffman shows up in film after film, always adding depth and humanity to his roles. This year, tack on two more solid performances to the PSH resume with Moneyball and The Ides of March. the latter probably should have snagged him another Oscar nom, but that’s for a different post.

It was not easy to narrow it down to ten films, but I’m always up for a challenge.

Here are my favorite Philip Seymour Hoffman roles:

Doubt  (2008)  A performance that gets better every time you watch it. So much going on, attacked with so much energy, intellect and compassion. Hoffman manages to walk the tightrope for us, leaving us to question to the very end his innocence. But not in question in Doubt is the beauty of his craft. “Where is your compassion?” he asks his accuser. And we then ask ourselves the very same question. Isn’t that art at its very best?

Capote  (2005)  A worthy Oscar win for PSH. Always a risk to take on a well-known personality. No problem for this actor, who always lets the material breathe, always pays such close attention to detail, and fully inhabits both the physical and emotional life required.

Magnolia  (1999)  Again, a thoughtful performance in a brilliant film filled with thoughtful performances. Hoffman’s hospice phone call to the min-mart for the dying Jason Robards, after finally getting around to asking for the porno mags, her response “Do you still want the peanut butter, bread, and cigarettes?” is classic.  Magnolia is one of my top five favorite films of all time; and you might say Hoffman’s ‘Phil Parma’ is the soul of the picture. The way he removes the imaginary pen from Robards’ hand on his death bed is genius.

Synecdoche (2008)  I will admit this film is aimed at a very small sliver of an audience: Those who find life in the theatre (or the arts in general) all-encompassing. But if you’re in that sliver, such is such a great flick. Not sure who else Charlie Kaufman could have cast to play this role. Another brilliant piece of acting from an actor who just gets better and better and better.

Savages  (2007)  This one was right in his wheelhouse, but that doesn’t make it any less significant. It’s an adult comedy with a smart sense of family and family loyalty. A very satisfying ending. If you haven’t seen it, put it on your list. You won’t be disappointed.

The Talented Mr. Ripley  (1999)  A supporting role, but one that sticks to your ribs. Fun to see him play this kind of elitist preppy that first put him on the map (see Scent of a Woman). Reminded me of one of my favorite Richard Yates short stories “A Really Good Jazz Piano.” We’ve all known a few guys like ‘Freddie Miles’ in our day. Hoffman nailed it.

The Ides of March  (2011)  Again, not a huge stretch for this versatile actor, but his presence in a picture like this adds so much to the credibility because you know he has done the work to make it so. His scenes with Ryan Gosling provide the best moments in the film.

Punch-drunk Love (2002)  Aside from his Mission Impossible III (2006) role, this was his stab at a villain. And he was sufficiently detestable as the porn pedaling phone con ‘Dean Trumbell.’

Moneyball  (2011)  I would never have thought to cast Hoffman as A’s Manager Art Howe. But there he was, showing up in yet another solid film delivering yet another spot on, believable, and layered performance. His exasperation with Pitt’s micromanaging of his lineup was full of so much heartache. Funny choice. Excellent work.

Scent of a Woman  (1992)  Had to include the role that put this incredible actor on the map. Pacino won the Oscar for his over-the-top turn as the retired (and blind! “Whoo-ha”) Colonel; but I walked out of the theatre that day, 20 years ago, saying to myself “Who is Philip Seymour Hoffman? That guy’s good.”

Two Actors Who Blew Up in ’11

Both had three critically acclaimed films released this past year. Films that made us stand and cheer. Each performance stood out – both stocks rising, no doubt. Each had a blockbuster hit – one got to work with Pitt. The camera loves them far and close – I better keep this moving before I go all verbose.

Jessica Chastain and Tom Hiddleston are the real deal. Memorize their names before your next social gathering. Be it a kegger down by the river or a swanky Strip and Go Naked, foie gras on Melba toast elbow rub at Nigel’s cozy but smart Village apartment.

Ladies first.

Chastain may be a California girl, but her polish came at Julliard, and now’s she’s all growed up and rocking the big screen.

Early in the year she showed up in Terrence Malik’s intensely thought-provoking existentialist drama The Tree of Life. Her angelic presence as the nurturing mother to three sons and the wife to Brad Pitt’s tormented and explosive father was a thing of exquisite beauty. It’s a gorgeous film, elevated by Chastain’s grace and alabaster purity.

In The Help, Chastain plays a misunderstood “floozy” outcast with a heart of gold; and, in a film with more than a couple of memorable performances, almost steals the show. It is a role that, if in the wrong hands, would have upset the balance of the film’s tone. It’s going to be very interesting to see which actresses will be singled out from this picture with Oscar nominations.

For good measure, she played a very convincing Israeli special agent in The Debt, proving she can handle almost any genre.

British born Hiddleston began his year by running away with Thor’s thunder, playing the title character’s brother, ‘Loki.’ For a young actor, having Anthony Hopkins play your father is like showing up at a Toyota dealership and being handed the keys to a Mercedes E class. Smooth sailing. Hiddleston more than held his own, and even managed to elevate the performance of neophyte Chris Hemsworth.  On deck for ‘Loki’ is the highly anticipated Joss Whedon superhero megapack, The Avengers, and then Thor 2.

Next up, Hiddleston embodied the suave persona of none other than F. Scott Fitzgerald in Woody Allen’s sublime Midnight in Paris. For Allen’s concept of a writer’s fantasy world inhabited by literary greats to work, the actors had to be up to the task. While Corey Stoll stands out most as Ernest Hemingway, Hiddleston is a totally believable Fitzgerald, filling the screen with understated intellect and charm. Makes one almost wish he were playing ‘Jay Gatsby’ in Baz Luhrmann’s work in progress.

Finally, in Steven Spielberg’s War Horse, Hiddleston plays earnest British battlefront bound ‘Captain Nicholls.’ It’s a minor role with a major moment of foreshadowing requiring just the right actor’s touch to resonate. When ‘Captain Nicholls’ looks at young ‘Albert’ and promises to return his horse safely, we need to believe not only his intentions but his forecast. In this simple moment it became clear to me that this actor has everything it takes to be a major star.

The camera does not lie. And neither do I. Sure as pie these two actors will soar sky high.

Goodbye.