Month: January 2016
There are innumerable reasons to value Double Indemnity (Billy Wilder, USA, 1944): it’s not only one of the great works of cinema but possibly the ur-text of what started off as a cycle of films and eventually became a genre: film noir. It’s got dialogue that still snaps, a structure so tight nothing’s extraneous, lighting so expressive it’s led critics like Richard Schickel to see the film as, ‘a drama about light, about a man lured out of the sunshine and into the shadows’. I love the actors, the badinage between Edward G. Robinson and Fred Macmurray, the tough-guy voiceover, the way the film evokes a combination of cool cynicism and overheated desire. Its influence continues to be felt. As we can see in the cabezudos scene in Almodóvar’s La mala educación/Bad Education (Pedro Almodóvar, Spain, 2004), Double Indemnity’s images are instantly recognisable, regularly re-deployed, still very evident in the culture and still wielding power (see clip below).
My own favourite moment (see clip at the very top) is a close-up of Barbara Stanwyck in the scene where Phyllis (Stanwyck) is driving her husband to the station whilst Walter Neff (Fred MacMurray) is hiding in the back seat waiting to off him. Her husband’s been haranguing her, ‘why do you turn here!’ She honks the horn. ‘What are you doing that for!’ Then, as if to answer him, the camera cuts to Walter crouched in the back and rising for the kill. The film then cuts back to a close-up of Stanwyck. ‘Why are you honking the horn!’ as we hear a thud. The camera remains on her face as her husband gets killed and it’s this moment that remains indelible to me.
What do we see on Stanwyck’s face? She bounces with apprehension at the blow that kills her husband, mouth a little open. Then, as lights ricochet past her face, what does Stanwyck convey about Phyllis’ thinking and feeling in that last close-up before the scene dissolves? Disquiet, a hardness, efficiency, a vengeful ‘he only got what he deserved’ look, the slightest glimmer of a smile; could it be glee? And could it be sexual? One feels it’s so without knowing quite why. It’s in that evocation of the precise and the evanescent, the material and that which reverberates just out of reach – it has so many associations it can’t quite be pinned down – that Stanwyck’s great artistry makes itself manifest. It’s a glorious moment, one of many, and part of the reason why, to quote Woody Allen, Double Indemnity is ‘Billy Wilder’s greatest film, practically anybody’s greatest film’.
Robert Ryan had small sad eyes inset on a chiselled face atop a long lean frame. The body seemed a promise of America: large, agile, powerful – he often played cowboys (The Naked Spur, The Wild Bunch) and looked the part – but his eyes often contradicted his physique. There we often saw fear, hatred, suspicion, racism, cowardice, defeat, loneliness, want, despair. Ryan’s face is also one of the most memorable of post-war American film noir (Crossfire, Act of Violence, The Racket). It’s like his eyes were the beatniks to the Eisenhower America that was his body, one a critique of the other; a self ill at ease, in tension – often in contradiction with itself and certainly the ‘other’: Crossfire, Bad Day at Black Rock.
Ryan’s career trod that fine line between being one of the most famous actors in America but not quite being a star — the kind of ‘name’ that often headlined low budget movies (Best of the Badmen, 1951) but was relegated to support in the big pictures — between playing villains and tough-guys, which, as embodied by him, became almost indistinguishable. In his heyday, when he was billed above the title in a big-budget movie, he often played the bad guy (Bad Day at Black Rock, 1955). In his fine new biography of the actor, The Lives of Robert Ryan, J.R. Jones writes, ‘’Long after Ryan had grown frustrated with his sinister screen persona, he continued to play men twisted by hatred or bigotry if they promised great drama that would change minds’.
He had the good fortune to work with directors we continue to be interested in: Jean Renoir (The Woman on the Beach, 1947), Joseph Losey (The Boy With Green Hair, 1948), Jacques Tourneur (Berlin Express, 1948) Max Ophuls (Caught, 1949), Nicholas Ray (Born to be Bad, 1950; Flying Leathernecks, 1951: On Dangerous Ground, 1951), Fritz Lang (Clash by Night, 1952), Bud Boetticher (Horizon West, 1952), Anthony Mann (The Naked Spur, 1953), Sam Fuller (The House of Bamboo, 1955) and many others..
It was also luck that landed him at RKO at a time when the studio was in dire need of leading men due to the war; and at a time when — partly due to resources, partly to post-war malaise – RKO began to specialise in the kind of lower-budget mood films, ones where shadows articulated the distress and longings of a generation of men themselves struggling with –processing — a knowledge — sometimes a personal experience of — transgression, of the quasi- criminal, that men who’d lived through the war so often didn’t want to speak about; that’s what Ryan’s small, deep-set eyes, so full of sorrow and tenderness, so quickly prone to anger and violence, could so beautifully express. Jones’ book charts the extent to which ‘he invested the genre with a string of neurotic and troubling portrayals that still reverberate through popular culture’.
I learned a lot from reading J.R. Jones The Lives of Robert Ryan (Wesleyan University Press, 2015). The book is very good at delineating Ryan’s childhood. Ryan came from a well-to-do family, one well-established in the city’s Democratic machine, oiling it appropriately and getting well-greased in return by benefitting from the patronage the party, when in office, could offer. Ryan’s family ran a construction company, The Ryan Company, one that in the late twenties was worth $4 million. Whilst his background in sport in general and boxing in particular was heavily publicised by his home studio, there were other aspects that were seen as being less useful to his persona: his class background, his degree at Ivy-League Dartmouth, the fact that Nelson Rockefeller was a fraternity brother at Psi Upsilon.
I was intrigued to read that Ryan had got a relatively late start as an actor, 28, and that he’d studied with Max Reinhardt. Ryan delighted in the acrobatics of Douglas Fairbanks and adored comediennes like Fanny Brice and showmen like George M. Cohen. But in terms of acting, the book highlights his admiration for Spencer Tracy (‘one of the great masters,’ loc 2937, Kindle), Henry Fonda (with whom he founded the Plumstead Playhouse, a regional theatre company) and Fredric March (‘Ryan’s hero’, loc 5317).
There’s a superb anecdote about the making of The Iceman Cometh (John Frankenheimer, 1973) where Jeff Bridges is cast but not sure he wants to do the film, as he’s then thinking of maybe pursuing a career in music, until Marvin calls him, yells ‘stupid ass!’ and hangs up. One could learn a lot from working with Fredric March, Lee Marvin, and Robert Ryan. ‘As an actor,’ says Bridges of Ryan, ‘he stood alone for me’. Of their scenes together, Jones writes, ‘Bridges is the one who looks nervous, giving the role his all but often giving too much; Ryan, ever the minimalist, pared his performance down to the bare essentials but made every reaction count. Spencer Tracy had upstaged Ryan in much the same fashion nearly twenty years earlier, in Bad Day at Black Rock’.
So much attention has been devoted to The Method that one forgets that there are other traditions of acting in American cinema, ones that come via the American Academy of Dramatic Arts, repertory theatre, television or even, as in Ryan’s case, Reinhardt. One can see a commonality and lineage amongst these groups of actors (Tracy, March, Fonda, Marvin, Ryan, Bridges) and that these traditions are also ones that deserve closer scrutiny.
Ryan was part of a rare handful of film stars – Henry Fonda, Katharine Hepburn, Fredric March, Charlton Heston –that was truly passionate about acting and that kept trying to learn and expand their range by returning to the stage, often in classic roles. Ryan played Coriolanus on Broadway and was Anthony to Katharine Hepburn’s Cleopatra in rep; he did several Eugene O’Neill classics (Long Days Journey Into Night, The Iceman Cometh) and other more homegrown staples of the theatrical repertoire (Born Yesterday, The Time of Your Life, The Front Page, Our Town etc.). He even inaugurated a Berlin musical on Broadway in 1962 playing the title role, Mr. President.
Ryan was a lifelong liberal and, as a child of the Democratic machine in Chicago, he knew the power that comes from mucking in and getting involved in politics. J. R. Jones notes his involvement most of the famous liberal candidacies of his day: He supported Helen Gahagan Douglas’ run for an open Senate seat against Richard Nixon’s dirty smear tactics, and would later support Adlai Stevenson and J.F.K ; he got involved in the civil rights struggles through his friendship with Harry Belafonte; he spoke out against the Vietnam War and supported Eugene McCarthy; in fact, he stumped for all the high profile left liberal causes of his day, like so many movie starts did. J.R. Jones interestingly points out, however, that unlike many of his peers, he was a political pragmatist. He did not, for example, vote for Henry Wallace. ‘Wallace wanted to give equal rights to women and racial minorities, abolish the Un-American Activities Committee, and dismantle America’s nuclear arsenal, all attractive positions to Ryan.’ But he thought votes for Truman would throw the election to the Republicans and he lived the dogma he’d been raised on: ‘Vote the Party, not the Man’.
What is to me more interesting is Ryan’s political involvement at a grass roots level. Jones meticulously delineates the efforts of Ryan and his wife, Jessica Cadwalader, a free-thinker and novelist, with the launching of the Oakwood School, the various negotiations with neighbours, the conflicts with the Board of Governors, the ultimate success in getting the right head teacher. According to Jones, ‘Ryan often told people the school was the most important thing he’d ever done’.
Jones’ The Lives of Robert Ryan is richly researched and very illuminating. Jones got access to an undated twenty-page manuscript Ryan had written on his family and early life for his children. He also got access to manuscripts Ryan’s wife Jessica had left behind on Hollywood and the movie business. He charts Ryan’s career and is even able to give figures for the salary he got for most pictures.
I finished reading the book wishing Jones had delved more deeply into the films themselves. For example, of my own favourite, The Set-Up, Jones tells us that according to his wife, Ryan ‘takes more pride in that movie than any other he ever made’. We’re shown how the film was based on a narrative poem that became a New York Times best-seller in 1928 and that Ryan had first read it in college; how the original protagonist was changed from black to white for the movies; how, like Hitchcock’s Rope, the duration of the narrative is the film’s running time, how the film influenced most other boxing films including Scorsese’s Raging Bull; how the film made Ryan a beefcake favourite with the bobby-soxers, and how after he saw it Cary Grant told Ryan, ‘My name’s Cary Grant. I want you to know that I just saw The Set-Up and I thought your performance was one of the best I’ve ever seen’. Re-reading the section on The Set-up I realised that it’s very good on the film’s production, its style, its reception and conclude that if he’d devoted as much time to each film, the book would be impossibly long.
Jones tells us more than a lot, in a carefully annotated style that provides evidence for what he says. It is to his credit and that of Robert Ryan’s enduring fascination that we want to know more.
Orry-Kelly was a bachelor all his life; he was chief costume designer for Warner Brothers between 1932 and 1944; lived with Cary Grant in the late Twenties and was furious when Grant moved on to Randolph Scott in the Thirties; was bestie to Texas Guinan, Ethel Barrymore, Marion Davies, Fanny Brice, Hedda Hopper and other formidable women; and oh did he love his mom. But it was only upon finishing the book proper and reading Catherine Martin’s Foreword and Gillian Armstrong’s Afterword to Women I’ve Undressed that I could be sure he was gay.
Gilliam Armstrong, the superb Australian director of Mrs. Soffel (1984), Starstruck (1982) and many other films that deserve to be classics (Little Women, 1994), had made a documentary on Orry-Kelly called Women He’s Undressed (2015). Orry-Kelly, born in Kiama, New South Wales, Australia and winner of three Academy Awards for costume design, was internationally one of the most famous Australians of the first half of the twentieth century — his billing in Australia often read ‘costumes by our Orry-Kelly’ — and of clear interest to an Australian filmmaker and an Australian audience (and beyond). It was amidst the publicity surrounding the release of the film that the memoir came to light. As Armstrong recounts, ‘ I mentioned Orry in an interview on a Newcastle radio station and a friend of Orry’s grand-niece contacted me, wondering if I’d be interested in meeting his niece who, by the way, had his memoir! She had been keeping Orry’s memoirs in a pillowslip in her laundry cupboard for her mother for over 30 years.’
The main reason for reading this book is because Orry-Kelly remains one of the outstanding costume designers of the classic era: when you visualise the Busby Berkeley musicals, or Warners gangster films or Bette Davis at her peak or Ingrid Bergman in Casablanca, you’re re-invoking the dreams, characters and stories that Orry-Kelly helped to create. Only Adrian, Travis Banton, Edith Head and Irene could be considered peers in Hollywood’s classic era. Plus, after his Warner’s period, he designed the costumes for An American in Paris (Minnelli, 1951), Auntie Mame (Morton D’Acosta, 1958), Some Like it Hot (Billy Wilder, 1959) and many other classics. As Catherine Martin, the costume designer who in 1994 finally superseded Orry-Kelly as the Australian to win most Academy Awards notes, his influence continues to be felt, beginning with the impact his work had on hers, and illustrating it with a comparison between the costumes Orry-Kelly designed for Bette Davis in Now, Voyager (Irving Rapper, 1942) and what she herself designed for Nicole Kidman in Australia (Baz Luhrman, 2008).
Orry Kelly wrote the book for an audience of the time after his peak (the late fifties, early sixties) but not quite yet for publication so it’s full of all kinds of obfuscation that act as a kind of discretion (what kinds of crushes where those that Cary Grant had on all those women; were they akin to those I have when I meet a new friend — a kind of romantic idealisation of who they are – or was it sexual. It’s not clear) and all kinds of indiscretions that would never have made print had the book been published in his lifetime (Errol Flynn’s drug consumption, Joan Fontaine’s imperious demands, Monroe’s exhibitionism in Some Like It Hot). The book is full of superb anecdotes: Flynn explaining that he hadn’t stolen that emerald necklace in Sidney – it had been a gift; Fanny Brice eagerly watching and dissecting Bette Davis’ performances like the true fan she was; Katharine Hepburn ensuring that Ethel Barrymore regularly received fresh flowers in her last years…an many more.
The book offers a wonderful evocation of lost worlds: Bohemian Sidney post WW1; the underworldly New York of gangsters and speakeasys. These raffish milieus take on an even brighter sheen if, to borrow Alexander Doty’s phrase, one makes things perfectly queer; that is to say not only a personal and subjective reading but one informed by a knowledge and understanding of gay cultures and identities in the first half of the twentieth century, an important if rarely valued kind of cultural capital. Read through a ‘gay lens’, those milieus where prostitutes and petty criminals intersected with show business are not only where Orry-Kelly got his start designing but also those that intersected with homosexual sub-cultures; the rage and hurt expressed by all the bitchy attacks on Cary Grant become those of a deserted lover rather than merely an ungrateful room-mate; the love for the nightlife of Hollywood and Vine becomes textured with sexuality; the friendships with George Cukor, Cole Porter, and Somerset Maugham, a network of middle-aged homosexuals gallantly staving off the worst ravages of middle-aged spinsterdom.
I’m not sure that the book is doubly inflected in the way that Harry Louis Gates Jr. indicates in Blues, Ideology and African American Literature: A Vernacular Theory, where he writes of black performers putting on blackface to perform minstrelsy but doing so in such a way that white audiences remained unaware and understood it one way whilst black audiences understood that it was a black person performing and understood it another. Did Orry-Kelly doubly-inflect it that way so that his gay friends and contemporaries understood a layer of meaning unavailable to other audiences? I’m not sure. Can it be read to bring out this double (at least!) inflection? Without a doubt and to great pleasure and advantage.
It’s a fascinating book; I now look forward to the film.
Seeing Meet Me in St. Louis (Vincente Minnelli, USA, 1944) again yesterday brought to mind a half-remembered anecdote from some long-forgotten biography where, in the mid forties, L.B. Mayer fired a writer in a fit of pique for giving the wrong answer to the question: ‘who are the greatest actors on the MGM lot’? ‘Spencer Tracy and Judy Garland’ seemed to Mayer a wiseass answer when Greer Garson was the reigning queen of the lot. But who wouldn’t side with the writer now? By then, Garson was doing ‘great lady parts’ in a way so ripe for satire that Garland did just that in the ‘The Great Lady Has an Interview/aka Madame Crematon’ sequence of Ziegfield Follies (various directors but Minnelli is credited with this Garland sequence, USA, 1945). Garbo was long gone; Katharine Hepburn was on the lot but the only good material she got was the material she brought to the she studio earlier (The Philadelphia Story in 1940, Woman of the Year in 1942) and later (Adam’s Rib in 1949, Pat and Mike in 1951); the mid-forties is one of the low-points in Hepburn’s career: Dragon Seed (Harold S. Bouquet and Jack Conway, 1944), Undercurrent (Vincente Minnelli, 1946), The Sea of Grass (Elia Kazan, 1947), Song of Love (Clarence Brown, 1947), etc.
What tends to be regarded as great acting is often extremes of emotion in extreme situations (Daniel Day Lewis in My Left Foot [Jim Sheridan, UK, 1989); Charleze Therzon as Aileen Wuornos in Monster [Patty Jenkins, USA, 2003]) and more subtle, more complex, more humane, mundane but no less affecting realms of emotion – the kind Garland so beautifully depicts — are often ignored. But look at what she’s able to accomplish in a few shots of the Christmas Ball sequence of Meet Me in St. Louis extracted above.
Esther Smith (Garland) and her sister Rose (Lucille Bremmer) have planned an evil tease on Lucille Ballard (June Lockhart) because their brother Lon (Henry H. Daniels Jr.) had planned to attend the ball with her but she instead came with the boy Rose had set her eyes on, Warren Sheffield (Robert Sully). As revenge, they’ve filled her dance-card with the least desirable men at the ball. But it turns out that Lucille really wants to be with Lon and Warren Sheffield wants to be with Rose. The plans have been changed, Esther is left holding the bag, her grandfather discovers what they’ve been up to, and Esther chooses to take over Lucille’s dance-card and suffer the punishment they’d planned for her so as not to impede the other couplings and so that the social niceties may be maintained. Their last Christmas in St. Louis, planned as a triumph has derailed into self-sacrificial torture.
Ignore if you can Minnelli’s gorgeous and complex mise-en-scene, the compositions, the way the couples are paired off or enter the frame (though I have in the past written here, and on this film in particular, as to why you shouldn’t); ignore if you can how purposefully and beautifully staged it all is. But let’s not bypass every element. When evaluating acting, the long take is a consideration. Not all actors can do them and it has become a test of a film actor’s skill. George Cukor famously observed that whilst Joan Crawford could act any emotion, she was incapable of showing transitions from one to another; she could only do one at a time; but then her whole face would scrunch up like Dr. Jekyll to Mr. Hyde when transitioning. Thus there always had to be a cut between one emotion and another. She couldn’t do it in long take. But see what Garland does here.
We first see her enthusiastic entrance into the group, kind of gleeful at the plans afoot, ‘I’ve been very anxious to meet you’. Then there’s a cut to the three girls where she explains that they’ve taken the liberty of filling out her dance card. Note the look Esther gives her sister and note the laugh Garland achieves in that look as if indicating ‘Ha, she doesn’t know what’s in store!’ Then note the change in Garland’s expression, all within the same take, as Lucille responds with extraordinary kindness, offering to give them a party when they arrive in New York. Garland’s face is transparent, first we see a hint of guilt, her mouth opens, she’s bewildered. Her sister nudges her, ‘The plans have been changed’. Then the couples pair off, leave the shot, Garland still slack-jawed with bewilderment and then her grandfather enters the shot. She’s been caught, she hides the dance-card, attempts to laugh away the situation and flee. Then look at her expression as her grandfather reads out the names. ‘Clinton Badger’? She nods, it’s brutal and she’s been caught. She doesn’t respond to the next one, it’s unbearable. Then see what she does with her face when Sidney Gorsey’s mentioned. We see shame, embarrassment, the sense she now deserves everything that’s coming to her.
Garland is extraordinarily transparent through a range of emotions, often conflicting or contradictory, and often played for laughs, she seems to pluck them out of thin air and achieve effects few actors are capable of. It’s quite remarkeable in quite a low key way. Then in the next shot, when Lucille goes to get her dance card and Garland says she’s made a mistake, note her reading of the line ‘This is mine’. She’s achieving laughs facially, vocally, and in the series of dances that follow she proves herself a superb physical comedienne; all whilst simultaneously evoking a range of feeling, sometimes complex and contradictory, that is emotionally recognisable as truthful.
It’s great acting.
‘You can be had,’ Mae West said to Cary Grant in She Done Him Wrong, which opened in January, 1933, and that was what the women stars of most of his greatest hits were saying to him for thirty year, as he backed away – but not too far’ writes Pauline Kael in her great essay on the actor, ‘The Man From Dream City’.
Watching the moment in Jupiter Ascending ((Andy and Lana Wachowski, USA, 2015; see clip above), where Mila Kunis is coming on to Channing Tatum only for him to back away — she’s royalty now; he’s half dog, oh but she loves dogs! — made me think of Kael’s argument on Grant. Tatum is the male love object of the film and one of the leading sex symbols of the day. Since the Step Up musicals, it’s a rare film where his body hasn’t been prominently on display. It’s Jupiter’s/Kunis’ desire that Jupiter Ascending expresses . The narrative aligns the desire of the protagonist and that of the audience in that it presents Tatum as the object of desire — elegantly skating through space, often with his shirt off — to both; furthermore it presents Kunis/Jupiter as a point of identification in the narrative and aligns the audience’s gaze with hers. Female expression of desire as depicted in Kunis’ lovely and witty performance and that alignment of the gaze of female star with that of the audience is still so rare in cinema , and rarer still in this particular type of cinema, as to invite commentary, and perhaps incite discomofort.
Writing on Grant and Redford, Kael argued that both were ‘sexiest in pictures in which the woman is the aggressor and all the film’s erotic image is concentrated on (the male).’ Redford, for example, ‘has never been as radiantly glamorous as in The Way We Were, when we saw him through Barbra Streisand’s infatuated eyes.’ Yet a similar moment in Jupiter Ascending, that extracted in the clip above, whilst offering a moment of glee to me personally, doesn’t seem to work in quite the way similar moments worked with Redford or Grant. Clearly Tatum isn’t as debonair; he lacks the lightness; he’s too earnest. However, could it be more than that?
As star personas metamorphise over time, can there be some moments that come too late to work in a work, i.e. is it conceivable that the ‘I love dogs’ moment might have worked better had the film been released after Dear John (Lasse Hälstrom, USA, 2010) and The Vow (Michael Sucsy, USA, 2012) or perhaps as late as Magic Mike (Steven Soderbergh, USA, 2012) but pre 21 Jump Street (Phil Lord and Christopher Miller, USA, 2012) and Foxcatcher (Mark Schultz, USA, 2014)? After all, there was a point where one simply went to a movie with Tatum to look at that body in motion. When did it start to matter that he was ‘wet’; that there seemed a cloud of depression perpetually overhanging that pudgy face; that he comes across as not-too-bright (though considering the choices he’s made recently, he can’t be as dumb as he looks); that he seemed to take everything too seriously; that he could be a serious bore; that whereas better romantic comedians like Grant are different with the heroines than they are with anyone else in the film, Tatum can only do ‘sad-serious-and-slow’, or at least until the use of his body brings a different kind of kick and energy to his performance? Was it perhaps that moment when critics began to talk of him seriously as an actor?
Or does that striking moment ‘not working’ simply characterise a film of brilliant ideas that seems also laughably silly pretty much throughout? And yet, I’ve now seen it twice…can it be that we’re not used to seeing sci-fi where the female star is the desiring subject, the active agent, the focus of the film’s drama? Or that we’re not seeing used to seeing sci-fi in such traditional melodramatic terms? Jupiter (Mila Kunis) is a cleaning lady, a migrant born in the middle of nowhere who ends up becoming a queen with the whole of the earth as her personal playground. There’s a wedding interrupted at the last moment and love that has to skate through galaxies , class and ethnic barriers and many disasters before being consummated. There’s also Eddie Redmayne’s excessive, intriguing and camp performance which seems to belong to a different genre. There seem to be all kind of intriguing and brilliant clashes and displacements in the film. Maybe what Jupiter Ascending is providing so brilliantly is so far removed from audience expectation that the only response to that clash is uncomfortable laughter?
Just some thoughts,
I’d put off seeing In The Heart of the Sea (Ron Howard, USA, 2015) because the trailer looked dull, because I’ve never seen a fully satisfying film about man versus whales, because another attempt to demonstrate American ideals of human courage under fire, or under water or even against aliens from another dimension, all seem the same and all make one just want to curl up and die.
I’d loved Rush (Ron Howard, USA, 2013), the previous Howard/Hemsworth collaboration, but I suspected, rightly, that the undoubted excitement it incited might be a one-off: Howard is too nice — and perhaps has been too lucky — to draw out complexities and contradictions and dramatise them compellingly, e.g., In the Heart of the Sea tells us that the greed, barbarity and cost to people and the environment that drove the American whaling industry in the 19th Century is not that different than that which would later drive a different type of oil industry: oh, okey dokey.
What got me to the theatre on a cold winter’s day was seeing that Brendan Gleeson, Cillian Murphy and Ben Whishaw were also in the cast; and, really, it was the tantalising thought of Whishaw as Herman Melville that was the clincher. In the end, he was disappointing. The part is a thankless one; a mere narrative device through which to get Gleeson to narrate the story that would then form the basis of Moby Dick. Whishaw isn’t on for very long; he doesn’t have much to do; it’s a part that could have been played by many others and just as well. But what Whishaw offers that others might not is the potential for surprise. It could have been different, exciting, unexpected, delightful; it has been so many times in the past
Since 2011 and his marvellous introductory scene (see clip above) in The Hour (Abbi Morgan, UK, 2011) , where he looks straight at the camera and prophetically announces, ‘You haven’t seen my best yet’, I’ve adored him as Frobisher – composer/prostitute/petty thief and unabashedly in love — in Cloud Atlas (Tom Tykwer/Andy Wachoski/ Lana Wachowski, USA et al, 2012) arguably the most romantic gay hero in all of contemporary cinema; as the too-geeky-to-be-a-hipster Q in the Bond films; as the loving gay man in Lilting (Hong Khaou, UK, 2014), who tries to maintain a relationship with the Chinese mother of his deceased partner despite cross-cultural barriers preventing the son from coming out to the mother; as the voice of Paddington (Hugh Bonneville/ Sally Hawkins, UK, 2014) — no one else could have brought the purity, the optimistic and loveable innocence he brought to his voicing of the iconic teddy bear; as the abusive husband in Suffragette Abi Morgan, UK, 2015); as the singleton who does manage to find a wife whilst not quite escaping the horror in The Lobster (Yorgos Lanthimos, UK et al, 2015); as the understanding homosexual supporting Eddie Redmayne through his transformation from Einar to Lili in The Danish Girl (Tom Hooper, UK, 2015); and of course there’s his work in London Spy (written by Tom Rob Smith, UK, 2015) as Danny, a sub-prole variant of his role in Cloud Atlas, this one with Jim Broadbent hopelessly in love with him rather than laughing in his face at his advances, as in Cloud Atlas.
Ben Whishaw may be the first out young star who, whilst playing a great variety of roles, nonetheless is building quite a repertoire of homosexual characters. It’s instructive to compare what he offers to, say, someone like Stanley Tucci, who in the last few years has also played a whole variety of roles, gay and straight, but seemingly specialising, at least since The Devil Wears Prada, in ones clearly coded as homosexual (The Hunger Games films, Burlesque, Gambit), and playing them all in one smug note as the sort of fey cultural deviant that raises a superior eyebrow at what everyone else is saying whilst criticising their dress sense for their own good. That’s the limit of how Tucci can imagine ‘gay’.
What Whishaw brings at this point, as his star personae unfolds and changes, is the imbuing of humanity to a category; his ‘gays’ could be a widower trying to connect over his loss with his ‘mother-in-law’, or sub-proles trying to fight the system over that which is just, or marginalised people trying to find a connection, or romantic heroes who cannot see life beyond art and love. ‘Gay’ is not what defines these characters when Wishaw plays them, as is so often the case when Tucci does (and ‘gay’ always means ‘camp’ and ‘supercilious’ for Tucci). Another interesting point about Whishaw is that other than when I saw him in Mojo onstage, he never seems to depict characters with any sexual threat (and his Baby in Mojo was a psychotic so…); they might be sexy but passively so, their minds are on love and sex always seems to be connected to some higher plane of feeling, even when the narratives hint that this was not always so in the past.
Anyway, a thought.
I finally got to see The Danish Girl and was unexpectedly moved. My opinion of Tom Hooper hasn’t improved. There is a reason why his company’s called ‘Pretty Pictures’: he can make them pretty but he can’t mobilise that prettyness into meaningfulness. He’s obviously superb with actors and I think Eddie Redmayne and Alicia Vikander are believable and affecting; the former in a very risky part; also it feels like a kind of bourgeois filmmaking: all this delicate and thoughtful suffering in exquisite settings whilst thinking of art and higher things…and yet, on an emotional level, it still gets to you. It’s interesting.
There are complex themes around identity that revolve around sex, gender, but also artistic production. The need to express oneself is in this film as important as that of becoming one’s idea of who one wants to be in the face of harshly punitivie social prohibitions. The Danish Girl doesn’t necessarily present these ideas in a complex manner. For example, sometimes the film presents the question of sex as an essence struggling to overcome the boundaries of the wrong body that imprisons it; sometimes it shows gender in the very process of its construction as its costumed, painted and slipped on. Sometimes it confuses the various categories it seems to be dramatising. But what it might get muddled analytically it more than makes up for emotionally. The film gets us to understand and feel for ‘The Danish Girl’ and when he asks his wife ‘I don’t know what I’ve ever done to have earned such love’, I welled up. It’s a question often asked but this time we know the answer.
In The Danish Girl, there seems to be an overt contradiction between representing social transgression as a pathway to truth whilst deploying the most conservative aesthetics means to do so, which act as obfuscation, a kind of show-and-hide and perhaps an appeasement of potential audience reactions via gentle and extraneous pleasures. I at first thought Eddie Redmayne was too young to already seem so mannered. But then began reading the initial overdone gesture as a foreshadowing of the transformations to come and ended by thinking it a really marvellous performance. Vikander is just as good in a less showy part. Mathias Schoenaerts, Amber Heard and Ben Whishaw appear intermittently to offer unstinting support and very considerable glamour.
One of the pleasures of being in London for a few days is you come across films you’ve never heard of, have never seen publicised, take a punt, and come out entertained, moved, enriched; and this by a film you may not fully understand.
Mr. Six was such a film. Don’t get me wrong; it’s a popular film, a male melodrama, one not too different in basic thematics from Home from the Hill or Rebel Without a Cause. It’s about being a man, about how to be one, what it means to be one, the necessity of the striving to embody such ideals, and the inevitable failures such attempts entail. At the heart of it is a relationship between a father and a son; and that father and someone else’s son; a triangular relationship that cuts through class. And the context for it is a changing culture, one that worships money and consumer items, that has lost touch with a recent past, one where age-old conventions no longer apply and thus also about the generation gap that results from it: one where women are important but peripheral. At heart Mr. Six is a critique of the new political/moneyed/ business class in China; it’s a film that asks audiences to feel for, cry over, and accept cultural change.
The basic story is about an aging gang leader, Mr. Six (Fen Xiaogang), old now and done his time in jail but still respected in his community for achieving justice for his neighbours, a man who finds that negotiation can be can be just as effective as brute strength in resolving most problems. He hasn’t heard from his son Bobby (Li Yifeng) for a while, searches for him, and discovers that he’s got himself embroiled in gang dispute that involves a girl, a Ferrari, and a jealous boyfriend called Kris (Kris Wu), who happens to be both a spoiled rich brat and also the scion of a family of gangsters. As he tries to rescue his son, he gets into muddier and muddier waters at a higher and higher level.
As is traditional in the genre, the film is highly symbolic. There’s an imprisoned ostrich that makes a last bid for freedom through the crowded streets of Beijing. There’s a caged bird that can parrot only one phrase. There’s beautiful imagery of icy rivers that can be skated over or fought on but which can support or break. Snow, real snow, falls over the characters as they run to and away from hospitals and treatments that they don’t understand. Food and drink offer a setting over which men remember, brag about and regret their past. The film works ritualistically also, as classic Hollywood did, with events – the seeking of direction, the lighting of a cigarette – repeated in different contexts in a way that affects plot, meaning, tome. Mr. Six offers an imaginary reconciliation of real contradictions in which the troubles between neighbours is no different than the trouble in the country, the bond amongst friends are the same as those which tie a community together; the struggles between the generations, ones that can be overcome.
There are certain things that linger in the mind: the extraordinary calmness of Fen Xiagang’s central performance as Mr. Six — the actor, who I understand is primarily known as one of China’s most financially successful directors, seems to convey a zen calmness to other characters whilst letting the audience see how quickly he can spring into action; There is gorgeous cinematography by Luo Pan that shows fog and snow and things that are not quite clear in a clearly considered way; one of the themes seems to be that the world is full of people struggling with existential problems that cannot be treated like a reality show, that we as audiences and as people need to cultivate empathy and respect; that Guan Hu is director who’s not afraid to let his camera linger, a director to look out for.
The film has no surprises other than the style of its telling. It’s amazing how the re-enactment of clichéd structures can wield such force, can be so moving, when directed as confidently and sensitively as this director does. It’s a superb example of great popular filmmaking. The audience, almost entirely Chinese, laughed at things I didn’t understand but, like myself, stayed until the credits ended, as if not wanting to let go of the world they’d been immersed in, one with such similar problems, but one that offered much more honourable and satisfying resolutions. It’s a film to look out for.
Before I saw Sense8, I thought the sequence at the end of Cloud Atlas to be amongst the most romantic representations of gay romance I’d ever seen. Robert Frobisher (Ben Whishaw), composer/prostitute/petty-thief, is enjoying his last day of life amidst the rooftops of Cambridge when he sees Rufus Sixmith (James D’Arcy) — the love of his life — and finds meaning in the beauty of the sunset, the rake of a hat, the sight of his love. It so moved me then and moves me still. In order to try to make sense of why this is so, I re-edited all the Frobisher sequences in the movie together in chronological order, an interesting and illuminating process.
The Frobisher sequences strung together in chronological order are almost like a mini-movie. Certain elements are drawn out more clearly by extracting them in this fashion: the melodrama, the clichéd tropes of art and its creation, the formal questions raised by making the scene that ends the Frobisher episode the scene that precedes the title sequence of the film, the connection in gay culture between art/sex/love/death, the idea of true love that crosses time and even re-incarnation; it’s what culture, particularly in its Barbara Cartland variant, tells us love should be; it’s what we want it to be but know it’s not; it’s what female audiences wanted it to be when they saw Bette Davis films in the Forties; it might be a false want but one which gay men have historically been denied. It’s a want I wanted to be presented with, one which gay men of my generation have to now been deprived one and one which Cloud Atlas so beautifully provides.
Very few of you will want to spend the 22 minutes necessary to see the rough re-cut presented above so I have provided merely the rooftop sequence and its aftermath below for those of you with less time or inclination though there is one edit I made to remove material not related to Frobisher and Sixpence . The reason for doing the re-cut was sparked by my understanding that what I felt when watching the roof-top sequence was the result of accumulating plot, characterisation, incident, mise-en-scène, a series of ideas; when I was trying to show friends the sequence I realised that the sequence itself, on its own, pretty as it is, did not quite incur the desired effect…but it hints at it and is better than nothing.
I think Cloud Atlas a flawed or even hackneyed masterpiece. It’s too melodramatic,some of the performances are really dreadful (Tom Hanks’ stands out), it feels unwieldly; and yet, few films are as ambitious and few films offer as much. It’s not only that one could do a re-cut of each of the characters such as the one above, but that the cross-cutting between one character to another, past and present, and so on, in itself create connections and meanings (which I have lost in doing the re-cut). This is just one little example, a brief one, and in my view completely great.