Category Archives: Actor

Killers of the Flower Moon

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You think three hours and 26 minutes makes for an awfully long movie? You’re right. Yet, Martin Scorsese’s true-crime epic, Killers of the Flower Moon, completely held my attention throughout (trailer). Even though I knew the story, because I’d read the fascinating book by David Grann that the movie is based on, still there were no saggy lulls. It is time well spent.

The New York Times calls it “An Unsettling Masterpiece,” which recounts the terrible outcomes of white men’s unrelenting, murderous greed when oil is quite unexpectedly discovered on the Oklahoma lands that had been considered so worthless they might as well be given to the Osage tribe.

If I had a complaint, it would be that there was too much attention to Robert DeNiro as the “King of the Osage Hills,” cattleman William Hale. (Hale even asks people to call him “King.”) He gives an excellent performance, but, unlike the other characters, he doesn’t change; he’s the same throughout—a malicious, manipulative, avaricious local operator—and you understand him from the beginning.

Leonardo DiCaprio sets aside any vanity and is neither handsome nor savvy in playing Ernest Burkhart, Hale’s nephew. Because the tribe members are deemed incompetent to manage their assets, they are required to have white guardians. A quick way for a white man to become a guardian is to marry an Osage woman, just as Burkhart marries Mollie Kyle, memorably played by Lily Gladstone. Then if the wife dies . . . you can guess the rest.

Thanks to the oil, in the early 1920s, Osage members were the per capita richest people in the world. Much too tempting a target for undereducated, unprincipled roughnecks. Believe me, you’re grateful when Jesse Pelmons as Tom White, an agent of J.Edgar Hoover’s nascent FBI, appears on the scene.

The movie was filmed on a grand scale in Oklahoma, though there are plenty of intimate, emotion-packed moments in which Mollie and Ernest demonstrate real love for each other. Her penetrating gaze recognizes Hale and Burkhart’s schemes, but loves her husband anyway.

The film is dedicated to Robbie Robertson, whose last project was composing its music.

At the beginning, there is what seems an unnecessary statement by Scorsese about why he made this movie. That opening fits when he gives its closing words as well, bookending the film during a creative approach to telling “what happened next.”

The ill-treatment of indigenous people was one of America’s two greatest original sins and, in the arc of history, this sorry episode was not so very long ago.

Rotten Tomatoes critics’ rating: 93%; audiences: 85%.

A Man for All Seasons

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The Shakespeare Theatre of New Jersey’s production of Robert Bolt’s A Man for All Seasons, directed by Paul Mullins, opened October 21 and runs through November 5, 2023. The story of Sir Thomas More, a man who not only has principles but sticks to them, seems a timely offering for our more elastic era. Of course, you may conclude that, in his case, that virtue went too far. Here a strong cast and excellent production provide much to consider.

Hewing closely to history, More (played by Thomas Michael Hammond) has become the Chancellor of England during the reign of Henry VIII (Roger Clark). Henry is determined to divorce his wife, Catherine of Aragon. He has several reasons for this, but the most powerful may be that she has failed to produce a male heir. (Centuries later, science would prove that a child’s sex is determined by the father. Henry should have been looking in the mirror.) The Catholic Church, of course, opposes the divorce, and Spanish officialdom, represented by its emissary Sigñor Chapuys (Edward Furst), regularly pleads Catherine’s cause. More’s conscience won’t let him support the King’s plans, despite the loyalty he demonstrates by various other actions. Nor does he speak out against them.

The principal cast includes several additional notable characters, which the cast plays with great skill and gusto: the always a bit dodgy Duke of Norfolk (Anthony Marble), More’s devoted wife Alice (Mary Stillwaggon Stewart), his daughter Margaret (Brianna Martinez) and her fiancé William Roper (Ty Lane), whose political views shift with every wind. Also, rising politician Richard Rich (Aaron McDaniel) demonstrates his convincing slipperiness, Thomas Cromwell is less admirable here than in Wolf Hall (James McMenamin), and “The Common Man,” (Kevin Isola). Isola makes the most of the array of often-comic characters he plays—More’s servant Matthew, a boatman, a publican, a juror, a jailer. His every appearance is welcome. Additional cast and production credits in my review at TheFrontRowCenter.

In general, a readiness to compromise or to achieve the King’s desired ends by whatever argument necessary characterizes Rich, Norfolk, and Cromwell, in direct contrast to More. The play challenges you to think about the role of a counselor. Is it solely to follow the leader’s dicta or is it to help a leader onto a more conciliatory and constructive path? For all his staunch refusals to speak out on the era’s great questions—the divorce and the establishment of the Church of England with the King at its head—More does have opinions about these matters. He simply believes his silence will protect him from accusations of treason. In my view, he’s splitting legal hairs too.

STNJ productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit the Box Office online.

Two Movies to Watch For

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A Haunting in Venice
Kenneth Branagh’s third film outing as Belgian detective Hercule Poirot is certainly loaded with stylish touches (trailer). A dark and stormy night, water everywhere. A gloomy palazzo where a Halloween party for orphans is staged. A crashing chandelier. Masked gondoliers. A psychic invited in the hope she can communicate with a former opera star’s dead daughter. Directed by Branagh and written by Michael Green.

Oh, and a houseful of suspects. Branagh has made a third try at getting right the mustache which prompted so many cackles in Murder on the Orient Express. This one is . . . interesting. Layers. No sign of the scar mentioned in Death on the Nile as the reason for growing the thing in the first place. Although the first two movies hewed closer to the original Agatha Christie novel, this story based on her novel Hallowe’en Party, has strayed off into territory of its own.

Super supporting cast—Tina Fey as mystery writer Ariadne Oliver who inveigles Poirot into investigating the medium; Kelly Reilly as the opera singer; Michelle Yeoh as the psychic; and the brilliant Camille Cottin as the housekeeper. (You may remember Cottin as the star theatrical agent in the French comedy series, Call My Agent.) And, you may recognize Jude Hill as the boy who played the lead in Branagh’s Belfast. Here he plays the 12-year-old son of a PTSD-afflicted doctor, played by Jamie Dornan, his father in Belfast too.

All you’ll miss if you wait for Haunting to stream is the scenery. A Gothic pall overlays the story, but the plot itself is a tad weak. Not mysterious enough for a mystery and not scary enough for horror. Christie’s original must have been shocking, though, because it’s the only one of her books in which a child was the murder victim. Not here. Here it’s Poirot who almost becomes the victim of apple-bobbing. Not great, but you don’t leave the theater feeling bludgeoned by sound effects, either.

Rotten Tomatoes critics’ rating: 76%; audiences: 78%.

Theater Camp
While the movies about kids’ summer camps have worn their jokes thin as tissue-paper already, don’t let that discourage you from seeing this fresh take on the genre from directors Molly Gordon and Nick Lieberman (trailer). It stars Tony award-winner Ben Platt (Dear Evan Hansen), Molly Gordon as loyal camp counselors and Noah Galvin as tech support, plus an ensemble of hammy, misfit campers.

The long-time owner of a theater camp in the Adirondacks (it’s Camp AdirondACTS) falls ill and is unable to carry on. Her son (Jimmy Tatro), who has no feeling for theater, kids, or camp takes over. He fancies himself a finance genius, which seems in his mind to consist of writing himself many inspiring post-its. Can the counselors save the day?

Fun and refreshing, it’s what you’d call a “small movie,” and since it’s already probably too late to see it on the Big Screen, Hulu is streaming it.

Rotten Tomatoes critics’ rating: 85%; audiences: 80%.

Fiction as “the Humanizing Act”

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Author KL Cook began his writing career as an actor, unlike so many of us who always knew we wanted to be writers. When he finally began to write, he immediately recognized that his theater training was perfect for fiction writing. Perhaps it’s the practice in taking on different characters’ personas in a deep way, figuring out how each one relates and reacts to the others, learning to put oneself inside the story—being not an observer, but an “experiencer.” He’s said, “I think of writing as performance—something that ideally enchants, haunts, and persuades through the senses.” This is a strategy all writers can practice. If you were your character on stage, how would you be? relate?

From his theater background, which included studying and performing the works of Shakespeare, he found the kind of complex characters authors strive to achieve. “You can never reach the bottom of them,” he says. Hamlet, Iago—they contain mysterious contradictions. It would seem that the struggle to try to understand them is what prepares writers for creating their own story characters.

Cook’s principal character in the award-winning novel, The Girl from Charnelle, is a sixteen-year-old girl. He says that while writing the book, he sometimes felt as if he were such a girl. But he had some false starts. He wrote the whole 400- page novel in the third person, then rewrote it in first person and wasn’t satisfied with the result. The narrator had to look back at her sixteen-year-old self make some judgments and interpretations that took some of the tension out of the story. So he switched it back to third person, in what must have been a tear-your-hair-out decision! Revisions, revisions, all along the way. The message here is that even changes that require some massive amount of work like these, help you get inside your characters and understand their stories better. Whatever, it worked, and gained great acclaim.

Having made that switch myself in one novel (which has multiple point-of-view characters, only one of which changed) and one short story, I can attest that it involves much more than switching pronouns.

Writing a character very different from yourself requires seeing the world in a different way—part of the challenge and the fun of it! “The only limitation is imagination,” Cook has said. This sound like a more controversial point of view than it once was, now that we’re in the era of sensitivity readers. At the same time, I believe, as Cook has said, that “Access to other lives is why fiction is such a great humanizing art.” People different from us.

Inhabiting characters different from oneself requires giving them their due—making them neither cardboard cutout villains nor perfect specimens. You find out in my novel, Architect of Courage, that the main character has been having an affair. Worse, when he finds his lover dead, he panics and does a very human thing—he panics and runs. But how to make that situation real, not cliché? I tried to make his situation believable in the first chapters by clearly describing his wife and his lover, who were totally different in personality, appearance, and behavior. Neither was a bad person. No bitchy wife or scheming younger woman. It had to be plausible that he could, as he eventually realizes, love them both, independently.

KL Cook’s award-winning books span genres. His first book Last Call, is a collection of linked stories and a novel about the lives of a Texas panhandle family (and I should read them, because that’s where my grandparents lived!). He’s published other short story volumes, a book of poetry, and essays on fiction-writing titled The Art of Disobedience. Sounds like another worthy read. He’s an English professor and co-director of an MFA program at Iowa State University.

Weekend Movie Pick: The Lost King

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You really wouldn’t have to say much more to me than “Sally Hawkins,” but when I saw previews for this film she stars in about an incident I remember well, I couldn’t wait! And it did not disappoint. For centuries, the memories of England’s King Richard III have been shaped by Shakespeare’s wonderful play, but there have been doubts . . .

He was writing during the Tudor era, and the Tudors (Henry VII) had wrested the throne from Richard, the last of the Plantagenet kings, by defeating him in battle. “A horse! A Horse! My kingdom for a horse!” famously says the unseated king. Shakespeare had to hew the ruling dynasty’s political line here. And did.

The movie was directed by master storyteller Stephen Frears and written by him and Jeff Pope (trailer). Along with Hawkins, it stars Steve Coogan as Hawkins’s husband and Harry Lloyd as Richard III. Hawkins, as Philippa Langley, embarks on an impossible quest. Her husband has left her, her job is unbearable, and she suffers from Chronic Fatigue Syndrome, which makes it hard to do much. But she sees a production of Richard III that really touches her. Was he really so bad or just misunderstood? She embarks on a quest to find out.

Introduced to the myths and mysteries surrounding Richard, she becomes consumed with a desire to find where he’s buried. Tradition holds that his body was dumped in the River Soar in Leicester, a city in England’s East Midlands. But Philippa finds scattered reference to a burial in the town’s Greyfriars Church, long since demolished.

Aiding her in her quest is King Richard himself, who appears to her (and only to her) occasionally, encouraging her on. They talk. Hawkins is perfectly cast as this tentative, but determined woman whom everyone sells short, except Richard himself. She has a brilliant way of simultaneously portraying vulnerability and strength.

Not only is it interesting, with some bureaucratic villains with all-too-familiar personalities, knowing it’s based on the true story of an amateur investigator’s triumph over hidebound historians unwilling to ask questions is quite satisfying. (You’ll loathe the university hacks.) Loved it!

(Richard en route to his new burial site, 2015.)

Great Popcorn Munching: Air

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If you asked me whether I’d like a movie about a rookie basketball player’s athletic shoe endorsement saga, I’m afraid you’d just get a blank look. Then, if you said the film centers on one of the most exciting stars in any sport, ever, but he’s actually barely in it, I’d probably wander off looking for a snack. I would be wrong.

Air, the new movie directed by Ben Affleck and written by Alex Convery, is based on Nike’s 1984 effort to woo college junior Michael Jordan and his shoe endorsement away from (then) major competitors Converse and Adidas (trailer). The story will grab you because the outcome, even though you know it, is so well delivered by a top-notch cast and a wholly believable script.

Ben Affleck plays the legendary Nike founder Phil Knight, and he has some superstars on his own team, notably Matt Damon as fixer (I can’t think of a better word for it), basketball superfan, and chief risk-taker Sonny Vaccaro. Jason Bateman plays marketing innovator Rob Strasser, Chris Tucker as advisor Howard White, and Matt Maher as down-in-the-basement shoe designer and innovator Peter Moore. At the time the film is set, Nike’s a big sports company known mostly for its running shoes, trying unsuccessfully to move big into the basketball world. They need a star. Incessantly watching the films of college hoops stars and the top NBA draft picks, Vaccaro recognizes Michael Jordan for the game-changer he’s going to be. But other companies want his endorsement too.

An actor playing Michael Jordan barely appears in the film and has no lines to speak of. Instead, Vaccaro’s unconventional recruitment tactics are aimed at his mother, Deloris Jordan, in a pitch-perfect performance by Viola Davis. It’s not appreciated that he makes his pitch directly or that he end-runs Jordan’s flamboyant and foul-mouthed agent, David Falk, played by Chris Messina.

There’s humor there, too, in the marketing meetings, in Vaccaro’s manipulation of Phil Knight (knowing what good friends the two actors are, they can nevertheless argue with real heat), in how Vaccaro tells Deloris Jordan exactly what the other companies’ pitches will be and seeing how that turns out, and how she out-maneuvers all of them. In the end, the new kind of deal they struck became a game-changer for college and professional athletes alike.

Give yourself a cinematic treat, and see this film!

Rotten Tomatoes Critics’ Rating 92%; audiences 98%.

popcorn

Popcorn Weekend: Living and Turn Every Page

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Two recent films that couldn’t be more different arrive at the same place. In both, men near the ends of their careers are determined to do the work necessary to leave behind something of importance. They prove that being a beautiful person is not age-related!

Living is a feature film, with a screenplay by Kazuo Ishiguro, directed by Oliver Hermanus (trailer). Rodney Williams, London bureaucrat in a do-nothing department, is portrayed by Bill Nighy. If you’re a Nighy fan like me, that’s all you need to know to want to see this film, but there are plenty of other reasons to do so. Given a fatal diagnosis, Williams is inspired to do something with his life, to leave behind something meaningful.

The film is more charming than sad, and pretty frustrating with its apt demonstration of how resistant to change bureaucracies are! Even so, it’s possible to make a positive difference in at least some people’s lives. Watch for the dinner scene in which Williams’s daughter-in-law desperately tries to signal her husband to confront his father about what she considers his questionable behavior.

The story closely follows that of a 1952 Japanese film, Ikuru, and you can see how its emphasis on conformity would work well in that culture.

Rotten Tomatoes critics’ rating: 96%; audiences 86%.

Turn Every Page is a documentary that any historian or author or editor is bound to love (trailer). Subtitled The Adventures of Robert Caro and Robert Gottlieb, it tells the story of the half-century of collaboration between author Robert Caro—The Power Broker(now in its 17th printing) and the LBJ biographies, starting with The Path to Power—and his renowned editor, Robert Gottlieb. They were young men when they started; they’re elderly now, and this film about them is fascinating from beginning to end.

The film was made by Gottlieb’s daughter, Lizzie, and she never puts a foot wrong. She brings in other voices, she takes a trip to Texas, she uses maps of New York City to show how Robert Moses’s massive public works projects shaped New York, and when she showed some of the famous books Gottlieb has edited, I sat there saying, “I read that. Read that. Yep. Another one.” In a classroom discussion of The Power Broker, a teacher says we can’t know whether New York would be a better place without Moses’s projects, but it definitely would be a different place.

After dwelling on Moses’s kind of power, Caro undertook a study of political power at the national level and chose Lyndon Baines Johnson as his exemplar. Because when doing his research he “turns every page,” he uncovered information about this period that was previously unknown, about which lesser writers might say, “We’ll never know whether . . .” Now, for better or worse, we do.

Caro takes a novelist’s interest in the impact the exercise of power had on people—from those in the way of one of Moses’s new expressways to the people who supported Johnson’s political wheeling and dealing. In one of the documentary’s more amusing moments, he and Gottlieb, preparing for a grueling day of editing, must scour the Knopf offices to come up with—a pencil.Rotten Tomatoes critics’ rating: 96%; audiences 100%!

Read Me a Story

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You may have seen actor Robin Miles (pictured) on the TV shows Law & Order and Murder by Numbers, but her principal creative outlet is the approximately 500 books she’s narrated—many, many of which have won awards. Journalist Daniel Gross’s recent New Yorker article, “How a Great Audiobook Narrator Finds Her Voices,” centers on voice actor Miles.

When she began narrating books, Miles was shocked to find how pigeonholed narrators were. If you were Black, you read books by Black authors; if you were Jewish, the same. “When a little more diversity came in (to the pool of audio narrators), it was like, well, nobody can do anything outside of their yard. And now, I think we’re also beginning to hopefully, break through that again.” Certainly the talented Adam Lazare-Smith is equally convincing narrating the Black and white characters of SA Cosby’s thrillers, as is Sullivan Jones narrating a whole array of ethnicities in Joe Ide’s I.Q. books, set in East Los Angeles.

Generally, a narrator is chosen who shares some major trait (gender, race) with the story’s main character. So, what about all the other characters? People different in terms of gender, sexual orientation, age, ethnicity, level of education, country of origin? The best audio narrators move between characters easily and make their voices simultaneously distinctive and authentic. As another skilled narrator, Adjoa Andoh, describes this challenge, “You are the entire world.”

Miles says that growing up in a town full of immigrants—Matawan, New Jersey—exposed her to accents from pretty much everywhere. Versatility, combined with creativity, serves voice actors well. In NK Jemisin’s fantasy books, a number of which Miles has narrated, the way characters sound must be created from scratch. They can’t sound like they came from Brooklyn or New Orleans or Maine.

I’ve been an Audible subscriber for more than twenty years. I’ve listened to hundreds of books. In 2004, I listened to all of Dickens, as well as Jane Smiley’s biography, Charles Dickens. Back then, audiobooks were a small part of the literary marketplace, but in 2008, Amazon paid about $300 million to buy Audible. They’ve done nothing but gain listeners in droves ever since. Today, audiobooks “are about as popular, in dollar terms, as e-books, and may soon generate more revenue than Broadway,” reports Gross.

Some authors decide to save the approximately $100 to $400 an hour it costs to hire a narrator/producer and read their book themselves. Having listened to so many terrific narrators, this seems risky and I’d never do it, but John le Carré did a great job reading his Agent Running in the Field. As in so many creative domains these days, AI is rearing its computer-generated head in the field of audio narration. When I think of the subtlety deployed by my favorite narrators, my instinct about this development is pure Luddite. As an example, Gross describes how Miles recognized a line was a bad joke and let her voice trail off as the character realized how unfunny she was. A manufactured voice might be able to read a textbook, but subtlety . . . I don’t know. How about sarcasm? Dawning uncertainty? As Gross says, “When publishers and producers inevitably try to sell us synthetic voices, it’ll be up to us to hear the difference.”

Tent Revival: Online Theater

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Last Monday was the premiere of Tent Revival, a play by Majkin Holmquist directed by Teddy Bergman, as part of the series, Bard at the Gate. This is the third season for the series, which is co-curated by Pulitzer Prize-winner Paula Vogel and McCarter Theatre Center Associate Artistic Director Nicole A. Watson, and co-produced by McCarter. Its goal is to create an audience for groundbreaking new plays that are “ambitious, quirky, and smart.

Tent Revival takes place in rural Kansas, 1957. The strong cast is led by Robert (played by Michael Crane), a farmer unable to make a go of it who turns to preaching. He’s strongly supported by his wife, Mary (Lisa Joyce), injured in an auto accident a decade earlier. Daughter Ida (Susannah Perkins) is the most interesting of the three, because she’s the most up-front with her doubts. She isn’t sure she buys into all the professions of faith and “Jesus is sitting right beside me,” and spends her Sunday mornings roaming the farm fields looking for snakes to have as pets. When Mary, in a frenzy of defending her husband from doubters, rises from her wheelchair and walks again, Ida’s convinced. For a time.

Someone who doesn’t share these doubts is the extremely vulnerable teenager, Joann (Allegra Heart). Joann willingly fakes a stutter so Robert can “heal” her, in order to convince people he truly has a gift. In addition to the four cast members mentioned, a fifth actor (Amy Staats) takes on multiple roles, usually as a skeptic.

The crowds grow, the pressure mounts, the demand for healing intensifies. When Mary relapses and ends up back in her wheelchair, Bob tries to exile her from the show (bad publicity). But he has to produce something to satisfy the crowds of people coming to be healed, and he talks Ida into snake-handling—with rattlesnakes. Mary has other ideas and decides to test Robert’s faith. Is it real? The ending is ambiguous, but I think he does have faith, just not in the way the tent revival audience believes.

The performances were filmed in a particular way—in closeups projected side-by-side, in color and, when Ida is narrating rather than participating in a scene, in black and white. This gives a feeling of action in what is a minimalist production. You can access Tent Revival (video on demand) through Broadway on Demand.

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Newman and Woodward: Acting Up!

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This week in New Plaza Cinema’s entertaining lecture series on the movies and the people who made them, film historian and author Max Alvarez talked about the 50-year creative partnership between Paul Newman and Joanne Woodward, illustrated with numerous film clips. More than half a century ago (can this be true?) Paul Newman became my favorite actor with his portrayal of Ari Ben Canaan in Exodus, a status he cemented the next year in The Hustler.

So many of his great roles, were in the late 1950s and 60s (Brick in Cat on a Hot Tin Roof [1958], Hud in Hud, Luke in Cool Hand Luke, Butch in Butch Cassidy and the Sundance Kid, Henry Gondorff in The Sting, Frank Galvin in The Verdict [1982]). Just the films mentioned garnered him twenty-five major award nominations, including seven Academy Award Best Actor nominations. Yet he didn’t receive an Oscar until 1986, for reprising his Hustler role as Fast Eddie Felson in The Color of Money.

While Newman was a dominant screen presence in those years, Woodward stayed more in the background, keeping her career secondary to her family role. (The couple has three daughters.) Nevertheless, accolades came early for Woodward. She won an Oscar and a Golden Globe for her performance in The Three Faces of Eve (1957). Over his career, Newman acted in 57 feature films, and she in 27. They worked together—as actors, or with him directing—on 14 projects.

Newman and Woodward both arrived in New York in 1951, and, two years later, they met as understudies in Josh Logan’s Picnic, which gave Newman his Broadway debut. He arrived after Yale Drama School, and she, five years younger, studied in New York with Sanford Meisner in the Neighborhood Playhouse School of the Theatre. She never completely lost her Georgia accent. Though they both worked on Broadway, they’re best known for films. As Alvarez emphasized, in that era, Hollywood was willing to produce a fair amount of serious adult drama, many based on literary works, which was lucky for them.

Alvarez found screen tests of each of them with James Dean for the 1955 film, East of Eden, based on the John Steinbeck novel. Judging by their tests, either or both of them might have been at least as good as Elia Kazan’s ultimate picks, Richard Davalos and Julie Harris. (Commentators frequently note that Dean’s untimely death opened up roles for Newman that otherwise might have gone to the then better-known actor.)

Newman and Woodward’s first film together was The Long, Hot Summer (1958)(trailer), based on William Faulkner’s stories. During filming, they became a couple. Newman, already married with three children, needed a divorce before he and Woodward could wed.

Other notable collaborations for the pair were 1959’s From the Terrace (trailer), based on a John O’Hara novel. It was filmed mostly in New York to accommodate Newman’s Broadway acting schedule for Tennessee Williams’s Sweet Bird of Youth. In 1961, they appeared together in Paris Blues (trailer), with Newman on the trombone and Sidney Poitier on the saxophone. A jazz aficionado says Newman faked it pretty well. Newman directed Woodward in the low-budget Rachel, Rachel (1968)(interview with Newman and trailer), based on a novel by Margaret Laurence. The movie turned out to be both an artistic and surprise financial success. It was Newman’s directorial debut and led to his winning the Golden Globe and NY Film Critics Circle Award. Woodward also won those two awards. He also directed her in a 1986 film version of The Glass Menagerie by Tennessee Williams (full movie), which features a young John Malkovich (worth seeing for that alone!).

Their final film together was the 1990 Merchant/Ivory production, Mr. and Mrs. Bridge (trailer), about a sheltered Kansas City couple who must grapple with the profound social changes surrounding World War II. To keep costs down, the film was shot in real locations in Kansas City and received donations of costumes and props, modest and not-so: 100 gallons of paint from Benjamin Moore and a dozen Tiffany lamps and 1930s paintings from a local law firm, for example. Woodward’s performance was especially praised. The New York Times said “there is a reserve, humor and desperation in their characterizations that enrich the very self-conscious flatness of the narrative terrain around them.”

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