dougramsey Reviews

Finding Neverland (2004)

Go Back to Your Childhood or London of 1904...

[10/10 · 28 November 2004]

Theatergoers arriving at another opening night of a J. M. Barrie play provides an initial opportunity to drift back 100 years to a departed era in Marc Forster's 'Finding Neverland'. Sir James Matthew Barrie (Johnny Depp) anxiously awaits

the audience's reaction to his latest work. An encounter with the children of Sylvia Llewelyn Davies in Kensington Gardens alters the trail Barries

professional career takes. Striking up a friendship with Sylvia (Kate Winslett) and her four boys Michael (Luke Spill), George (Nick Roud), Jack (Joe

Prospero) and Peter (Freddie Highmore), Barrie's imagination is influenced and transported to a magical place, which can live in the heart of anyone. The acting in this production is authentic. Depp, Winslett, Although Highmore's

performance is good, the work of the other three brothers is just as

commendable! The Saturday evening I viewed 'Finding Neverland', the entire,

mostly-adult audience was at stone-quiet, rapt attention while transported into turn-of-the-last-century London. Granted, there are many true facts about Barrie and the Davies boys that have been altered for this production, but movies are fantasy, too, just like 'Neverland', and the storyline weaves itself well throughout the entire length of the film. Art direction (Peter Russell) was inspired, and settings, costuming (Alexandra Byrne and Mary Kelly) and properties were

convincing and representative of a bygone era while providing a visual

indulgence. The film provided a moving experience for the audience. Upon

departure from the theatre, I overheard a woman state her husband wiped away

a tear from his face, something she had never before seen him do at a movie.

Perhaps that is the best tribute to 'Finding Neverland' which exemplifies the loss of the purity of youth, as children become adults much too soon.

De-Lovely (2004)

Great Music but Short on Substance!

[29 July 2004]

These last few weeks I have eagerly anticipated the Cole Porter biopic, "De- Lovely", starring Kevin Kline. As I read the initial reviews for this film's early, limited run, I was a bit perplexed at the mixed and somewhat negative assessments. Appreciative of Cole Porter's musical brilliance, I have not only seen excellent stage productions of some of his work, but have performed in the stage production, "Cole", a musical tribute to Porter's musical wit and genius. Subsequently, I was mentally primed for a gratifying movie experience that not only touched upon Cole Porter's music, but a more honest portrayal about his personal life, as well.

The introduction of decency codes in Hollywood film-making and the swing in public opinion regarding the gay community had great impact on personal lives at the beginning of the Great Depression. One case in point is the life of William Haines, once the biggest money-maker for specific Hollywood studios, but whose career in film came to a grinding halt when film industry moguls tried to force Haines into a proper, heterosexual "marriage" for social appearances as social conservatism grew in strength as so did the deepening depression. A few years later, "Night and Day", the 1946 film starring Cary Grant, greatly distorted the facts surrounding Cole Porter's life. Post-depression/post-war American society was still not ready for the truth about Cole Porter's life, or homosexuality ("the love that dare not speak its name"), in general. Psychologically, the unrest in Cole Porter's mind regarding his closeted sexuality, his marriage to Linda, his extra-marital dalliances with men and his search for satisfying love have had great impact on the themes in his music. After all, no artist creates within a vacuum; personal experiences influence the creation of art, be it music or otherwise. And, having the greatest understanding of any artist's life, creatively, professionally and personally, allows for the greatest understanding of artistic production.

Although society's understanding and acceptance of gay issues in 2004 would enhance audience favor of this film, regrettably, I left the theater, unfulfilled. This film should have been a snappy cinematic package filled with creative production numbers incorporating Cole Porter's great songs and reflecting upon significant events in his life. Attempts were made. Staging the film as a review of Porter's life viewed scene-by-scene by Cole and his "accomplice" in a darkened theater made for easy understanding of scenes from his adult life. I felt that other, important scenes were missing which would have made for a better understanding of the man. The influences of his privileged childhood in Peru, Indiana, and his college experiences at Yale greatly influenced his direction in life. The easy-to-digest transitions from Paris to various American settings illustrate deft cinematography, staging and editing. However, many scenes looked "too staged" to realistically portray the significant events Cole and his accomplice witness from the main floor of the theatre house. Was this the director's intent? If the staging of the various "scenes" from Porter's life were as Cole remembered them, why were they staged in confining or unrealistic spaces with little bravura and sparkle, considering the man was the essence of these very two things? It's as if every possible cliché was thrown into an impossible to believe setting of Paris when Cole sings to Linda!

The soundtrack to this film is enjoyable. Witnessing the visual performance of present-day artists singing Porter's tunes, however, was hit-or-miss. It was obvious that lip-syncing was taking place. Why cant' such scenes be filmed live, I wonder? Kudos to Robbie Williams' version of "It's De-Lovely" (looking very impish), Alanis Morissette's ""Let's Do It", and Caroline O'Connor's "Anything Goes". Her vocal similarity to Ethel Merman is noteworthy, although the scene did little to display the talents of music and actor. To gain the full impact of these performances, purchase the movie's music compact disc.

If you have an interest in the life of Cole Porter along with his music, I would recommend you see this film to gain some insight. However, if your interest lies only at the level of his music and not of the influences upon his creative output, you will gain small reward by seeing this film, which vacillates in its essence of heart and spirit. Nonetheless, I can recommend the movie's CD.

Taking Lives (2004)

A Very Entertaining Package of Intrigue and Suspense!

[13 March 2004]

I was fortunate to experience a sneak preview of `Taking Lives', the new thriller starring Angelina Jolie and Ethan Hawke. When FBI Agent Illeana (Jolie) is called to assist French Canadian police to profile and catch a serial killer, be prepared to participate in a thrilling ride of a film. The opening scenes and credits easily construct the setting for the film, a progression of serial murders in which the perpetrator takes on the victim's identity. As the pieces of the puzzle come together, I thought it would be easy to resolve who the antagonist was in this film, but, suddenly, the pieces of the puzzle were scattered once more across the screen! More than a few shocking moments are thrown in for good measure throughout the film, reminiscent of that one moment towards the end of Audrey Hepburn's film, `Wait Until Dark', in which the audience of `Taking Lives' had a similar, alarmed response! Film locations utilizing scenery in Montreal, Quebec City and Saint-Ours deliver the setting for this film's twist and turns that come to a climax in a bleak, barren winter landscape offering no protection. I will not throw in any spoilers because you must see this film on your own to enjoy the maze of intrigue to get to the final conclusion. Try to outwit the killer as you try to solve this mystery; this film delivers the goods and provides a favorable film-going experience, even with a gratuitous bedroom romp! In addition, the cinemaphotography, art direction and musical score add to this grisly tale of intrigue, and a special kudos goes to the special effects folks for realistic properties and portrayals of the killer's victims. Whodunit? See this film and find out for yourself!

The Music Man (2003 TV Movie)

Ya Got Trouble!

[17 February 2003]

At first, I was skeptical about this new production of a great American musical theater standard. I grew up listening to the original Broadway soundtrack of Meredith Wilson's "The Music Man" starring Robert Preston and Barbara Cook as the original Harold Hill and Marian Paroo, so I initially approached this more recent production with some trepidation and bias. How can anyone top Preston's "Hill" or even 1962's Shirley Jones' Marian Paroo from the Warner Brothers production?

Matthew Broderick misses by a few degrees the essence of Robert Preston's con man intrigue. Although he is an accomplished actor, here, something is missing from Broderick's Hill. Perhaps it is the focus of Jeffrey Bleckner, this production's director, which inhibited Broderick's desire to deliver a character with a touch of sparkle and chicanery. Can Hill ever smile? Hill's choreographed shenanigans on top of the town's new, troublesome pool table add a nice cinematic touch early on in the film during "Ya Got Trouble".

Kristin Chenoweth gives a performance that hits the mark regarding Marion Paroo's personality. There is a genuine feel for the character, and Chenoweth brings Marion to life with charm and grace. Her musical numbers are presented with aplomb! At times, I found her hairstyles too fussy and a distraction, although her costuming was a realistic presentation of period styles, albeit, a bit on the luxurious side for a young woman with only a librarian's salary.

Debra Monk's widow Paroo is a fine presentation, but I didn't detect a significant age difference between this actress and Chenoweth to get a genuine feel for the mother-daughter relationship. Monk appears more as the older, but wiser sister.

Victor Garber, playing Mayor Shinn, comes across in direct contrast to the same role presented by Paul Ford in the 1962 Warner Brothers production. Garber's Mayor Shinn is too stern, almost "the heavy" instead of Ford's well intentioned yet bumbling Mayor. He does light up briefly during his "Shipoopi" interaction with his wife, Eulalie, played by Molly Shannon, yet carrying a stern expression on his face. He never reacts to the good that Hill truly brings to the citizenry of River City.

In 1962, Hermione Gingold presented an amusing presentation of Eulalie Mackechnie Shinn, the Mayor's wife. A highly amusing character on paper, Gingold's characterization came through with pompous self-importance laced with respectful interaction and esteem from the citizens of River City, most especially the ladies of the small, Iowa town. In this 2002 production, Molly Shannon's interpretation is a disappointment. What appears a very strong characterization in 1962 appears here as a barely supporting one. It is a shame that the talents of Shannon were not used to a better degree by the director making the characterization of Mrs. Shinn a stronger one. Given more rein, I am certain Shannon would have come across as a more significant element initially presented as a patriotic tableau in the school gymnasium, but quickly falling away to an almost walk-on status throughout the rest of the film.

Presenting David Aaron Baker's character Marcellus Washburn as a hotel front desk clerk instead of 1962's livery stable position allows for a smooth integration of the hotel setting throughout the film's story and character interaction. Baker does a fine job as supporting actor in this film.

Edward Bonutto's art direction adds a realistic environment throughout the production; dogs barking, birds chirping, antique automobiles chugging by horse drawn wagons add a realistic touch to this film not present in the 1962 production, evidently a Hollywood soundstage production. The use of a telegraphed message to alert the townspeople that "The Wells Fargo Wagon" has arrived in town was a nice, period touch, and the "Pick a Little, Talk a Little" number shows creative interaction with Hill, Mrs. Shinn and ladies of the town in the millinery shop.

Exciting, flashy, crisp and expert choreography is evident throughout. During "Seventy-Six Trombones" the dancing assists in the development of the story. Building rapport with the kids in town, Hill interacts with them on the gymnasium bleachers, in the locker room, in a school classroom, and back to the gymnasium to the approval of many townspeople. The same expert choreography in the later "Shipoopi" number consistently shows the high caliber of Kathleen Marshall's work, which surpasses the energetic work of Onna White in the 1962 film.

Other nice touches include a dream segment during the "Marian the Librarian" number which incorporates the damsel in distress and the swashbuckler, typical of the 1912 silent film era. The lighted footbridge in Madison Park presents a more realistic park setting where Kristin Chenoweth's "Till There Was You" informs Broderick's Harold Hill of her love and support for him. Harold ducks down in the back of a wagon when trying to escape the townspeople when "the jig is up." The barbershop quartet school board passes by in an automobile, on the lookout for the swindler Hill, another period touch.

The "Pick a Little" reprise between Marian and Mrs. Shinn and her retinue, cut from the 1962 film but generally in stage productions appears here and cements the growing camaraderie between Marian and the ladies of River City.

The camera work, editing and dissolves between Marian's "Sweet and Low" and the school board's "Lida Rose" offers a nice interplay of the two numbers. Dolly shots of the entire town indicate this is a film NOT shot near the hills of California. Here, Iowa IS flat as a tabletop with sweeping vistas of crops and farmlands. And, the use of an actual train in the opening number adds a real feel for the era and Iowa setting.

If the director had a better focus for these classic characters and allowed his cast more freedom of expression, this would be a "top-ten" film because of some of the other nice touches described above. However, I have to give this production a rating of only "good" and not great or "not-to-be-missed" due to its shortcomings.

Far from Heaven (2002)

A Visual Feast that Left Me Wanting More.

[8/10 · 27 December 2002]

Todd Hayman's 2002 production, "Far From Heaven," is a visually luscious offering reminiscent of the work of Douglas Sirk (1959's "Imitation of Life", 1956's "Written on the Wind", 1955's "All That Heaven Allows", and 1954's "Magnificent Obsession"). A definite period piece, this regeneration of 1958 Connecticut portrays a split second in how we think we "remember" cold-war Americana.

The rendering of the perfectly stylized residential, recreational or work settings is pleasing to the eye and memory. The always-shiny sedans or station wagons artistically filmed through the golden or crimson leaves of autumn recreate the Sirk-era Hollywood cinematic style.

However, Hayman touches upon the themes of racial integration and homosexuality, themes rarely touched upon in late 1950s American cinematography and which here clarifies the soon-to-be forthcoming social change in America. Subtly portrayed for the filmgoer is the experience of entering a concealed world with Frank Whitaker when he discovers a gay bar filled with pre-Stonewall patrons. Cathy Whitaker's growing sense of social injustice due to racial boundaries is awakened when her relationship with her gardener, Raymond Deagan develops.

The many citizens that inhabit Hayman's socially-stifling 1958 world live only on appearances; when issues such as race or differences in sexuality arise, so does their discomfort or downright disapproval. The same displeasure is mirrored in Cathy and Frank as each becomes aware of the other's issues and the inevitable domino effect on their marriage, a microcosm of society as a whole. To recognize almost fifty years later that the common thread running through both Cathy's and Frank's issues concerning social inequalities still exist today causes a degree of discomfort with the average filmgoer witnessing the lives of the Whitakers in this production.

The end of the film left me wanting more. All major characters are left at a crossroads in their respective lives, and the relationship developed between audience and actor throughout the film left me wanting to know what the future held for each character. Somehow, I knew that each would survive in his or her respective way, surrounded by the true cruelty that exists in this world just below the superficial surface.