Category Archives: Actor

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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Binge or Nibble? Watching Slow Horses

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A new season of the wildly (and deservedly) popular British TV series Slow Horses puts fans like me in a quandary (trailer). Do watch the whole thing in can’t-get-enough mode, or do I parcel it out, one or two episodes a week, to make the experience last longer? I did wait until the distractions of the December holidays were over before starting the new season, and so far, I’m taking it slow. But when an episode’s closing credits roll, it isn’t easy to turn away.

If you’re a fan of British crime/spy/mystery dramas, you probably already know that Slow Horses is based on the Slough House novels of Mick Herron. The first season aired on Apple TV+ last spring (6 episodes) and the current season began in December (6 more).

The premise is that MI5 agents who’ve messed up in some way are transferred to Slough House, where the “slow horses” are put out to pasture. There, under the harassing oversight of profane and obnoxious Jackson Lamb, they receive mind-numbingly dull assignments in the hope they will quit the service altogether. With everything going on in the world and in the U.K., MI5 faces innumerable internal security challenges. Even agents on the far fringes of the security establishment can find work to do.

New Yorker staff writer and historian Jill Lepore spent time with Herron recently and her article on Herron appears in the December 5 edition of the magazine.

Apparently the books were a bit of a hard sell in the beginning. Publishers didn’t know what to make of it. Too much humor. “Is this a thriller or is it comedy?” In fact, the audio narrators say they have to stop recording occasionally, so they can laugh off-mike. The Daily Telegraph has called Slow Horses one of the best spy novels ever written and Herron is widely considered the heir-apparent to the late John le Carré. Heavy burden, that.

What makes the books and the tv show so irresistible are the great characters. And, in the tv version, the cast is absolutely up to it. Lepore says Jackson Lamb (played by Gary Oldman, who makes Colombo look like a fashion plate) is “an old joe who’s straight out of Dickens, if Dickens had ever invented a character who used the word ‘twat’ all the time.” A decade ago, Oldman received an Academy Award nomination for his portrayal of George Smiley in le Carré’s Tinker, Tailor, Soldier, Spy. According to Lepore, Oldman believes Jackson Lamb “is Smiley if everything had gone wrong, although arguably, everything has.” In the age of Brexit, she says, Lamb is like Britain—“angry, embarrassed, and coming apart at the seams.”

If you’ve missed the books or tv series so far, do yourself a favor and get acquainted. And don’t miss the show’s theme music sung by Herron fan Mick Jagger. Just the right notes of discord and the impression everything is going off the rails.

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Death of a Salesman

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Having missed the opportunity to see a performance of Death of a Salesman in Portuguese last spring in Lisbon (I’m kidding), we eagerly bought tickets for the current Broadway version. It stars Wendell Pierce as Willie Loman and Sharon D Clarke as his wife, Linda. Both could not be better and gave affecting, memorable performances. Pierce was nominated for an Olivier award for his performance in a London production of the play.

I know I’ve seen this play several times, including when I was much younger, possibly even as a college student, as Arthur Miller had roots in Ann Arbor. The current version at the Hudson Theater offers whole new vistas of meaning for me now. I remember it being talky and, frankly, a little dull, but it shimmers with life in this version, almost as much as Willie shakes trying to pull his thoughts together. The themes of life disappointments, deluded parenting, and coming to the end of a road, all mean more to the older me, I suppose.

The New Yorker review wasn’t wild about the performances of Khris Davis as Biff Loman and McKinley Belcher III as his brother, Happy, young men in their late twenties. I found them energetic and mesmerizing. They carry out the stylized movements signaling events from their teens with verve. André De Shields appears as the ghost of Ben, haunting his younger brother Willie with his tales of brilliant success in “the diamond mines.” His mantra that all it took was hard work is a lesson that has failed Willie.

Director Miranda Cromwell has subtly updated the production of this 70-plus-year-old gem. There are a few references to its original era, but you don’t feel trapped in a time capsule. Plus, it fits the Black cast so well, you may think the Lomans should have been cast with Black actors all along. Certainly, some ways in which Willie is treated become freighted with new meanings.

So glad I saw it; you will be too!

Indelible Film Memories

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The creative partnership between Martin Scorsese and Robert DeNiro has produced some of the most memorable cinema of the last half-century. From Mean Streets (1973) to Raging Bull (1980) to The Irishman (2019), their movies “can be hard to watch and hard to shake off,” said film historian Max Alvarez. Alvarez presented his survey “DeNiro and Scorsese: An Intense Collaboration” last week as part of New Plaza Cinema’s highly entertaining lecture series.

Scorsese, a born New Yorker, grew up in Little Italy in a family where all four of his grandparents were immigrants from near Palermo, Sicily. Scorsese wasn’t a particularly good student, but he was fascinated by the movies. He has said the only college he could get into was NYU, where he eventually attended the Tisch School of the Arts. There, he started making short films, and his first feature-length film—1967’s Who’s That Knocking on My Door—signaled the start of another long-time collaboration, this one with Harvey Keitel.

Robert DeNiro, also a lifelong New Yorker, has a more ethnically diverse background. He was the only child of two artists, who separated when he was two. He grew up in the Greenwich Village and Little Italy neighborhoods, in what Alvarez called a “cultured and cultivated household.” He was sent to private schools and knew many artists of all types, who were friends of his parents, including Anaïs Nin, Tennessee Williams, and Henry Miller. He began studying acting in high school and went on to study at the Stella Adler school.

Interestingly, despite the cultural touchstones many of their movies have become, few of them actually made money. The exceptions were Taxi Driver (1976)and Goodfellas (1989). By the time that was made, DeNiro had already won his Best Supporting Actor Oscar for The Godfather Part II fifteen years earlier.

Scorsese’s films pioneered many techniques common today; the pop music soundtracks, the profanity that was uncommon previously, the film noir touches, especially in lighting, through the introduction of fast editing and CGI (used to de-age DeNiro in the early scenes of The Irishman, for example).

But even as he tried different projects—a musical, a comedy or two, a religious drama, a couple of psychological thrillers, a costume drama—and even though he’s worked with many other top stars—including Daniel Day-Lewis, Jack Nicholson, Leonardo DiCaprio, and Paul Newman—he keeps coming back to DeNiro. Maybe it’s that trust that allows the frequent use of improvised (or improvised, then polished) dialog that you sometimes see, as in Goodfellas. Scorsese says that DeNiro is gifted at bringing humanity to “characters who ordinarily would be villains.”

For a treat: Watch this YouTube video of Scorsese and DeNiro have dinner with Don Rickles (who played a straight role in Scorsese’s movie Casino, shown in the photo alongside).This filmed dinner was Rickles’s last performance.

Florence and Mojo

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These two short plays by pioneering Black playwright Alice Childress are now on stage in a riveting production at The Shakespeare Theatre of New Jersey, under the direction of Lindsay Smiling. Premiering October 26, the show runs through November 13.

Childress wrote, produced, and published plays for forty years. Born in Charleston, she said “Coming out of the Jim Crow experience was what I and many others had to do,” and the first of the plays (Childress’s first play), Florence (1949), addresses this experience directly. It takes place in a small-town train station waiting room in the South. The room is divided into two sections, alike except for the “Colored Only” and “Whites Only” signs and the segregated bathrooms. Oh, and the whites are offered a battered standing ashtray.

Mama (played by April Armstrong), is waiting for a train to take her to New York to check on her daughter, an aspiring actress, whom Mama fears is near destitute. Her younger daughter Marge (Billie Wyatt) tries to persuade Mama to bring her sister home. After Marge leaves, a white woman, Mrs. Carter (Carey Van Driest) appears, and the two talk. The ingrained attitudes and structures of racism are revealed, made even more painful when Mrs. Carter makes a gesture she intends as kind, which is anything but.

Mojo (1970), the longer of the two plays, takes place twenty years later, near the tail-end of the U.S. Civil Rights movement. The setting is the mid-century modern Manhattan apartment of Teddy (Chris White). He’s preparing to meet his white girlfriend and make arrangements for a poker game he feels confident he’ll win. As he’s off-stage, a woman opens the door with a key. She’s laden with a suitcase and shopping bag of gifts. Clearly, she plans to stay a while.

Irene (played brilliantly by Darlene Hope) is Teddy’s ex-wife, and through the sparring between them, their backgrounds and secrets gradually emerge. When Renie divulges how she looked for the face of her lost daughter in every child she saw, Hope’s intensity brought tears to my eyes.

Childress was raised in Harlem by her grandmother, who encouraged her to write and challenged her to focus on people struggling to get by. She does exactly that in these two plays. She creates especially complex female characters in both Mama and Irene.

It would be interesting to know how today’s Black audiences regard Irene and Teddy’s attitudes toward the Civil Rights movement. They speak as if they are indifferent to it, yet in the two decades between the stories, much had changed and much hadn’t. In the fifty years since Mojo was written, you could say the same.

Shakespeare Theatre of New Jersey 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.