:: Monday, December 29, 2003 ::

A quick thought about Renee Zellweger's performance in "Cold Mountain". I can't say anything about Renee without first mentioning that I have been a fan of her and have been following her career since "Love and a .45" . I read recently that she is somewhat over the top in "Mountain". The reviewer compared her performance to Debbie Reynolds as "The Unsinkable Molly Brown." I beg to differ. Playing a character like Ruby Thewes might make the actress essaying the role turn into Betty Hutton ("Annie Get Your Gun") but I believe Renee showed a lot of restraint. Here is an actress (as compared to a movie star, like, say Catherine Zeta Jones, who won a Best Supporting Actress Award for "Chicago" last year) who has won some Globes ("Chicago" and "Nurse Betty") but has not been singled out by the Academy yet. Here's a Best Supporting Actress Nod from me. Seldom has someone (other than Robert de Niro) thrown their weight (as in "Briget Jones Diary") into their craft as well as Renee does. I believed in Ruby as a real person, and her arrival in "Cold Mountain" even though it was expected, delighted and surprised me. Renee is a wonderful character "actress" who doesn't fall into the same traps as some well known movie stars who wished they were actresses. She compliments and enforces Nicole Kidman's performance as Ada Monroe. She almost steals every scene she's in away from Nicole, and I've been in love with her since "Dead Calm" so that's saying something!
:: Michael Nyiri 6:37 AM Leave a Comment on this Post ::
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Hank and Frannie have been together for five years. Co-habiting in a Las Vegas "fixer-upper", their fifth year anniversary (on the Fourth of July) begins with both partners questioning their choices. An argument ensues, and each chases his fantasy romantic dream, complete with dazzling setpieces imaginatively shot completely on soundstages and music and lyrics from Tom Waits and Crystal Gayle.
In 1982, when director/mastermind Francis Ford Coppola released his avowed favorite movie, "One From the Heart", nobody much seemed interested in his lavishly produced valentine to the musical comedy form, utilizing technical knowhow and some beautiful music, not to mention stellar acting from Frederick Forrest as Hank, Teri Garr as Frannie, and Harry Dean Stanton and Lainie Kazan as their friends and Raul Julia and Nastassia Kinski as their romantic fantasy lovers. Now that the DVD is soon to be released on January 27th. the movie has been re-released in theaters and I got to see it at the Nuart in Santa Monica. Although I have a personal quibble in that the re-edited version cuts what I think is one of the best lines, Teri Garr's "I'm walking. Look at me go." and doesn't finish the first traveling shot into the travel agency from the window display, as I say, I'm merely quibbling. The movie is back, it's on the "big screen", and will soon be in my DVD collection, complete with some commentary by Baz Luhrrman, I understand, who was inspired by "One From the Heart" in making "Moulin Rouge". Here is the link to the official site.


"One From the Heart" has always been one of my personal favorite films for years, and I have regretted for years losing my CED collection, where it lived for many of those years. A laserdisc was never issued, and I understand Francis himself pulled it from theaters after suffering a broken heart when nobody saw it. Sadly, the early show I saw on Saturday, one day after it's opening at the Nuart, only had six or seven patrons. I hope that there are more like me who think of this film as true artistic endeavor, to be lavished upon and experienced more than once, like a favorite album. The DVD has lots of extras, unlike the DVD of "Phantom of the Paradise" which I was so disappointed in I didn't even buy yet, even though it, like "Heart" is a favorite musical from a director whose name doesn't usually come to mind when thinking about the form.
:: Michael Nyiri 12:32 PM Leave a Comment on this Post ::
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I began to be worried when I read the list of Golden Globes, and noticed all the hoopla concerning Anthony Minghella's Civil War romantic tragedy "Cold Mountain". After all, I championed "English Patient" as Best Picture in 1996. If "Cold Mountain", which hadn't even been released yet, could receive all those noms, then it probably was as epic and tragic as the previews had suggested it would be.
Well, even though I am championing "Return of the King" for my Best Picture nod this year, I wouldn't be surprised or disappointed if "Cold Mountain" takes away the statuette.
The reviews are strong, and although I thought the turnout somewhat weak in the afternoon (every body is still in the five or six theaters in the complex showing "Return of the King" I suppose) the film itself is a work of art, and much more a comparison film in tone and scope to "English Patient" than his earlier "Talented Mr. Ripley".
"Cold Mountain" is brutal. Brutally honest in it's portrayal of war, missed and misguided opportunites, torn emotions, and broken spirits. Brutally honest in the feelings and misguided notions of it's characters. Jude Law should be singled out as Inman, who begins the film in the midst of battle, a somewhat ethereal presence, whom, even in flashbacks seems a silent "everyman" when he meets the stunning Ada Monroe, played with spunk and a regal bearing by Nicole Kidman, whose performance echoed Vivien Leigh's Scarlett O'Hara although not being an homage or even attemtpting to be any thing other than the character. Law is essentially standing in for the audience as viewers of what such a social and historical disaster as the Civil War can wreak on the populace of the nation. We see, through his eyes, and without much commentary, the horrors of war, and how it can reduce even the most innocuous of moments, into utter confusion and carnage in another moment.
I'm blown away by the film. It is stunning to look at, sad to ponder, and wonderfully directed. I'm still partial that Jackson win the Oscar this year, but that's personal. He won't. Minghella has won, and so has Eastwood, so even though their films are both powerful, Jackson has a chance in my book.
I highly recommend "Cold Mountain", however, and give it a 10 of 10 on the Mikometer.
:: Michael Nyiri 7:45 PM Leave a Comment on this Post ::
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When I got out of the performance for "Return of the King", I had a couple more hours to kill, so I decided to see "Mona Lisa Smile", the new Julia Roberts movie, with co-stars Kirsten Dunst, Julia Stiles, Maggie Gyllenhaal, and Marcia Gay Harden. Although somewhat pale in comparison to "The Prime of Miss Jean Brodie" from the sixties, I did thouroughly enjoy the acting, produciton design, plot, and characterizations of "Mona Lisa". I even cried during the last scene with the girls pacing Julia in the cab on their bicycles. Upon leaving the theater, a funny/strange thing happened that bothered me. A female patron, who was alone, as was I, sitting a few seats from me, approached me walking out of the theater, and exclaimed: "Did you hate that movie as much as I did?" I shrugged her off with a "No, I kinda liked it" and ducked into the men's room. In retrospect, I think she was just trying to start a converstation, and she said she had noticed me "squirming", probably because of sitting on a theater seat for past five hours, including "Rings". I really was taken aback, though! I enjoy the reverie of sitting in a dark theater seeing a film, and if I enjoy it, like "Mona Lisa Smile" I don't want to deal with someone who doesn't like it at all. I've always maintained that a person either likes a particular movie or not. If one is knowledgeable and intelligent enough to note that a film might be good even if one doesn't like it, then that person is singular. I try to notice the difference, but just didn't want to have to wipe the still wet tear from my eye and try to verbalize the graces of the film to someone who "hated it". Not my cup of tea.
On the other hand, I have always fantasized about a gal coming up to me to discuss the film we had just seen (together in the dark). She should have asked me how I liked it instead of displaying her hatred right away is all.
:: Michael Nyiri 8:41 PM Leave a Comment on this Post ::
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"The Lord of the Rings" trilogy comes to a close (too soon, I might add) with the anticipated release of "Return of the King".

10 of 10 on the Mikometer.
My pick for Best Picture of 2003. Andy Serkis should be nominated for Best Supporting Actor for his "interpretation" of Smeagol/Gollum.
This is truly a "crowning acheivement" for director Peter Jackson, and the Academy should honor him for his efforts. If not Best Director, then at least give this the Best Picture nod.
(Perhaps it will get a Globe?)
I sat transfixed, even though not a true Ringophile (?) through the conclusion of this epic tale. Posh on the folks who credit the sweep and epic filmmaking ahead of the acting. When Sean Astin as Samwise Gamgee enters the room where Elijah Wood's Frodo is putting the finishing touches on the "books", my tear ducts opened wide. I care for these hobbits, elves, dwarves, humans, and wizards, just as openly as in any humane piece of work. A triumph. A wonder. I've begun watching this "true trilogy" again, by taking out the extended versions of the DVD's and starting from the beginning all over again.
I wish the Academy would listen to me this time. Yes, "Mystic River" was my first favorite, and "Seabiscuit" is a wonderful time at the movies. But Clint Eastwood has his Oscar, and nothing compares to LOTR:ROTK as true "literate" film-making. In 1939, when dozens of great films competed for Best Picture during what has consequently been considered one of the most artistically drenched years in movie history, the Academy Award went to "Gone With the Wind" , a very popular movie based on a very popular book. To this day, the film, one of my personal favorites since I saw one of the reissues as a child in the theater, has endured as one of the greats of all time, and most people agree on it's status. GWTW usually comes in at around Number 3 on almost everyone's list of "best films".
This year, when there haven't been a lot of earthshakingly great films, even though some of the year end crop weigh in pretty heavily, I feel the Oscar should go to Jackson and ROTK. The end of one of the most amazing tales in the history of filmmaking, how a director with a dream fulfills his vision of filming all three of the films at once, ensuring that the vision is not hampered over time. As it is, the "journey" to make the films took seven years. I feel exhausted just thinking about the project.
Yes, I love Clint Eastwood, and since he is aging, my first inkling was that I would champion "Mystic River". Although there are still a few front runners I haven't seen, I don't know if I will think any of them compares with ROTK as my choice. For the past three years, my "losing streak" has made me feel out of touch with the Academy, even though I took pride in my "winning streak" in previous years.
This year I won't predict I will be right.
But Andy Serkis for Supporting Actor, issuing in a new era where a "digital role" would be nominated. (I don't expect him to win, but a nomination would be nice. I'd like him to win!) And "Return of the King" for Best Picture. Best Director to Peter Jackson.
:: Michael Nyiri 6:23 PM Leave a Comment on this Post ::
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This weekend I chose to see "The Last Samauri" and it disappointed me. The film is somewhat forgettable and I will quote a reviewer on Yahoo Movies who said she had seen it all before 10 years ago when Kevin Costner played the lead. Tom Cruises through another easy role. I had hoped to see him act. I know he can do it. I really don't expect this to be an Oscar frontrunner after seeing it. The box office isn't as phenomenal as you'd expect for a Tom Cruise movie either. I didn't think the sets were that spectacular, and there's better swordplay in, say, "Crouching Tiger, Hidden Dragon", or "Kill Bill" for that matter. It's a pleasant afternoon at the movies, but no great shakes as far as I'm concerned. I looked at my watch too much. 6 of 10, pretty much the lowest I grade.
:: Michael Nyiri 3:15 PM Leave a Comment on this Post ::
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I tivo'd 1969's "Paint Your Wagon" recently. The movie is, along with "Hello Dolly", , released the same year, part of the reason why big budget musical comedies died at the end of the sixties. Audiences were not in the mood for big budget musicals at the end of the sixties, even though the best picture of 1968 was "Oliver". "Dolly" came at the wrong time, and put MGM out of business. "Wagon" made the mistake of casting leads who couldn't sing. "Paint Your Wagon" was the most expensive film of it's time, and nearly every critic at the time of it's release gave it the ol' "thumbs down". I believe it is an essential piece of work, however, and this isn't just because I like musicals. It seems everybody can single out Lee Marvin's rendition of "I was Born Under a Wandrin' Star" as one of those songs, like Leonard Nimoy's rendition of "Bilbo Baggins", that are soo bad they are classics, in a Dr. Demento sort of way. At the time, I don't know what the filmmakers were thinking, but in retrospect, seeing both Marvin (as prospector Ben Rumson) and a marvelous Clint Eastwood (as "Pardner") in their only co-starring effort together, was a real treat. The tivo copy, from a standard DirecTV feed on Turner Classic Movies, wasn't good enough to view on the HDTV, but showed up on the analog 60" screen very well.
The Broadway musical was very popular. Joshua Logan directed the movie. The songs were well known, in addition to "Wandrin' Star", there was "I talk to the Trees" and the excellent "They Call the Wind Maria." (To the producer's credit, Harve Presnell as Rotten Luck Willie sings the latter.) The plot concerns what happens when a gruff prospector, Marvin's Rumson, meets up with a homesteading farmer (Eastwood) whose brother dies in the film's opening covered wagon crash, as gold is found in the brother's grave. The pardners, along with other prospectors, found the town "No-Name City", which soon blossoms into a bustling boom town. Albeit with no women in sight. When a Mormon straggles into town with his two wives, the menfolk decide that one man having two wives in a this town is unfair, so the second wife (Elizabeth, played by Jean Seberg) is auctioned off. Although Rumson wins her hand, his pardner Pardner is granted an equal share, and Elizabeth sets up homesteading with them both. Later, the men kidnap a coach full of prostitutes bound for another boom town, and No Name City grows into a metropolis.
The actual town was constructed in Oregon, and this was way before miniatures and digital imaging, so everything is real. The sets are a delight, and the plot moves forward easily, even though the movie clocks in at over three hours. Musicals did pretty much die after the release of "Paint Your Wagon" but I still admire the cinematography, by William Fraker, and the byplay between Seberg, Eastwood, and Marvin is excellent.
I also recently tivo'd "How to Succeed in Business without Really Trying" from 1967, when the musical was still in full flower. The choreography is by Bob Fosse. Robert Morse is at his cutest. Michelle Lee is a delight. Although some of the songs from the Broadway musical were trimmed for the film, the music that is on film, including "It's Been a Long Day", "The Company Way", and "Old Ivy", are staged tremendously. My favorite number from the film is "A Secretary is Not a Toy."
:: Michael Nyiri 5:00 PM Leave a Comment on this Post ::
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