1982 - Gandhi

Yet again, I am writing to you from somewhere other than New York City. (Perhaps if I updated this blog more often, this wouldn't happen as frequently.) I am currently in the very sleepy town of Naples in upstate New York, rehearsing The Thirty-Nine Steps for Bristol Valley Theater. A parody of the classic Hitchcock film, the play consists of dozens and dozens of characters but only four actors - one man to play the lead, one woman to play three female characters and two other actors (referred to in the script as Clowns) who play everyone else. I have the fitness-inducing pleasure of playing one of the madcap clowns.

On a break from rehearsals, I found the time to watch the last of 1982's nominees for Best Picture...

Gandhi
Director:
Richard Attenborough
Screenplay:
John Briley
Starring:
Ben Kingsley, Candice Bergen, Edward Fox, John Gielgud, Trevor Howard, John Mills, Martin Sheen, Ian Charleson, Athol Fugard, Gunther Maria Halmer, Saeed Jaffrey, Geraldine James, Alyque Padamsee, Amrish Puri, Roshan Seth, Rohini Hattangadi
Academy Awards:
11 nominations
8 wins, including Best Picture, Best Director, Best Actor (Kingsley)

Spanning more than five decades in the life of Mohandas K. Gandhi (Kingsley), the critically acclaimed biopic certainly covers a lot of ground. In South Africa at the end of the nineteenth century, the London-trained attorney-at-law experiences first-hand the discrimination rife in the British Empire. As an Indian, he was not allowed to travel first-class or even walk on the pavement. Rather than wallow in disillusionment, Gandhi leads a non-violent campaign to protest the injustices, eventually winning some concessions from the British government. Back at home in India, he begins the arduous task of gaining India's independence from Britain. Over the years, he endures several imprisonments, witnesses horrific incidents of oppression and initiates one or two hunger strikes, yet Gandhi remains steadfast in his conviction that violence is never the answer.

Despite a running time of just over three hours, Gandhi is surprisingly concise. The narrative is consistently clear and easy to follow, giving a comfortable accessibility to our protagonist's growth. As with most underdog stories, there is plenty of powerfully emotional content and our empathy for Gandhi's plight is quickly realised through several scenes depicting his or his people's oppression. The massacre scene is particularly evocative and almost difficult to watch.

One potential pitfall of presenting a story about such a revered historical figure is the temptation to depict the subject without flaws and foibles, making him seem somehow superhuman. This picture is certainly not ashamed of glorifying its subject but, thankfully, it also allows Gandhi a few moments of hotheadedness. When he loses his temper with his wife, he becomes more of a regular guy with which we can all identify, rather than just the constantly serene nothing-ever-rattles-me saint of the rest of the film. These revealing moments are perhaps too few and too brief, but they make for a fascinating study nonetheless. Mind you, from another perspective, his moral tenacity could easily be seen as another flaw. Gandhi is so dogmatic in his pacifist beliefs to the point that he almost kills himself by refusing to eat. In any other human being, such stubborn behaviour would be considered stupidity. Again, these issues only help to create a more well-rounded character on screen, far more interesting than a cut-and-dry do-gooder.

Ben Kingsley (pictured) carries the film with a powerhouse performance that earned him the Best Actor Oscar. Playing one man over the course of fifty years is never easy and Kingsley is just as believable as the 70-something Gandhi as he is as the 20-something Gandhi. He is supported by an eclectic array of talented actors, including plenty of esteemed British greats, who pop in for a scene or two - Trevor Howard, John Mills, Edward Fox, and my favourite, John Gielgud as the peevish Viceroy of India. Ian Charleson, appearing in his second consecutive Best Picture winner after 1981's Chariots of Fire, is amiably subtle as the Christian Reverend that Gandhi befriends. Not English, but also impressive are Martin Sheen, Candice Bergen and particularly Roshan Seth, expertly portraying the love and frustration that goes along with being Gandhi's close friend and political colleague. To satisfy my penchant for picking out the yet-to-be-famous actors in relatively minor roles, the film offers several instances of such - Nigel Hawthorne appears briefly; Harry Potter fans will recognise Richard Griffiths; although not immediately discernible, Daniel Day-Lewis' trademark intensity as a South African thug gives him away; and everyone's favourite mailman from Cheers, John Ratzenberger, shows up as a military driver but his voice is dubbed (by Martin Sheen, reportedly), ironic since Ratzenberger is now also very well known for his prolific voice work, mostly with Pixar.

1982 - E.T. The Extra-Terrestrial

Well, I'm back from a week in Delaware, where I was shooting Fridays, a short film that centres on an 11-year-old girl named Jenny, who, once a week, visits her terminally ill best friend in hospital. I play Jenny's concerned and protective father, David, who is somewhat unsure how to help his daughter deal with such a sobering predicament. It was quite a rewarding, if a little exhausting, shoot, and I will certainly keep you all abreast of the film's progress on the festival circuit.

Back in New York, our desktop computer has been rather uncooperative of late, shutting itself down at seemingly random moments. The obnoxious whirring noise that used to fill the room each time the computer was in operation has now entirely subsided. Thus, it seems relatively clear that we have a lazy fan unwilling to fulfil its cooling duties, thereby allowing the system to overheat and pack it in.

Miraculously, though, the computer survived long enough for me to watch the entirety of the next Best Picture contender from 1982...

E.T. The Extra-Terrestrial
Director:
Steven Spielberg
Screenplay:
Melissa Mathison
Starring:
Dee Wallace, Henry Thomas, Peter Coyote, Robert MacNaughton, Drew Barrymore
Academy Awards:
9 nominations
4 wins, including Best Original Score

After his spaceship makes an emergency take-off before he has boarded, a lonely and frightened alien is stranded in northern California. Taking shelter in a nearby backyard shed, he is soon discovered by a young boy named Elliott (Thomas), who secretly hides him in his bedroom. Elliott introduces his new friend to his older brother Michael (MacNaughton) and his younger sister Gertie (Barrymore), who begin to find ways to communicate with E.T., as they come to call him, while keeping him hidden from their mother (Wallace). As Elliott and E.T. become psychically attuned to each other's feelings, Elliott realises that E.T. pines for his own home and helps him build a communication device that will signal his people.

This is how you make a movie. The epitome of modern Hollywood, E.T. is simply captivating on almost every level and I struggle to explain why (which is horribly inconvenient since that is precisely for what this blog is intended). Despite being almost entirely wordless, the mesmerising opening sequence is crystal clear and immediately moving. It is as great an example of the cinematic style of storytelling as you are likely to find. Smartly written, beautifully shot, intricately edited.

Although I endeavour to view the original theatrical release of each nominee for the purpose of fairness, Netflix delivered the 20th anniversary edition of E.T., which includes a slightly longer cut with additional scenes and visual effects enhancements. These modern additions make for an interesting experience. On the one hand, seeing E.T. as a CGI character is a little unsettling, aware as we are that such technology was not in existence in 1982. On the other hand, it allows for a much more expressive E.T., particularly when viewed alongside the comparatively limited facial animatronics of the original. As it stands, E.T. is an immensely accessible character. One can only imagine how much more lovable he might have been were the film made today. That said, there is something mysteriously charming and perhaps nostalgic about the now seemingly primitive puppetry. These minor distractions, however, do little to disrupt the story and it all simply confirms my notion that I should always watch the original theatrical cut during this project, making such discussions moot. So, feel free to ignore this entire paragraph.

Spielberg is quite honestly at his masterful best here. In collaboration with cinematographer Allen Daviau, each shot is exquisitely composed, crafting a moody and evocative atmosphere. Toss in the delicate editing by Carol Littleton and the magical score by John Williams and the result is a masterclass in the emotionally manipulative effects of movie-making that even the best film schools would struggle to teach. Granted, there is a glossy Hollywood feeling to the picture, but it is undoubtedly intended to be a fantasy film. In that context, the pure movie magic is overwhelmingly appropriate. The important thing, however, is that it is always rooted in reality. The circumstances may be fantastical, but the characters' reactions are deeply human.

As is his wont, Spielberg assembled yet another naturally gifted cast, including many children. Carrying the film with one of cinema's most impressive child performances is Henry Thomas, finding the perfect mix of childishness and maturity. Playing the big brother, Robert MacNaughton likewise delivers a nuanced performance, mature beyond his years, while Drew Barrymore, as the young innocent sister, is impossibly cute. As the only adult face we see for the vast majority of the movie, Dee Wallace is amiable and touching. For the keen-eyed viewers, C. Thomas Howell can be seen in his big screen debut as one of Michael's friends, and also in her film debut, that's former Baywatch babe Erika Eleniak as the young girl that Elliott romances.

1982 - Tootsie

In my last post, I bemoaned the tribulations of moving house. For most, the discomfort of the move is, at least, offset by the excitement of the new surroundings. However, Kat and I have unfortunately managed to experience that discomfort with no subsequent excitement. I won't bother with the frustrating - and somewhat humiliating - details, but suffice it to say, we found ourselves involved with a rather shady real estate broker. Luckily, the ordeal ended with no monetary loss on our part, but the annoying result is that we packed everything into boxes only to unpack it all at the same apartment. Yep, we're not moving after all.

I am now currently in Delaware to shoot a short film for a week (more details at a later time) but with my one day off yesterday, I shunned the Diamond State's sights to stay in my hotel room and watch the next of 1982's Best Picture nominees...

Tootsie
Director:
Sydney Pollack
Screenplay:
Larry Gelbart, Don McGuire, Murray Schisgal
Starring:
Dustin Hoffman, Jessica Lange, Teri Garr, Dabney Coleman, Charles Durning, Bill Murray, Sydney Pollack, George Gaynes, Geena Davis
Academy Awards:
10 nominations
1 win, for Best Supporting Actress (Lange)

Michael Dorsey (Hoffman) is a struggling actor in New York City, making ends meet by teaching acting classes and working in a restaurant. His desperation is apparent on audition after audition, but his reputation as difficult to work with is perhaps his greatest barrier. Even his agent George (Pollack) has all but given up, claiming that nobody wants to hire him. Almost in defiance of his agent's words, Michael boldly transforms himself into Dorothy Michaels to audition for a female role on a popular soap opera, and winds up landing the part. Keeping up the charade is a constant battle as he begins to fall in love with his co-star Julie (Lange) who only sees him as a close girlfriend.

Tootsie is a lovable film. It is at once witty and heartwarming, the perfect balance of comedy and sentiment. Perhaps some of the farcical elements are a tad on the cheap side, but somehow the slapstick never gets in the way of the film's earnestness. The humour is always rooted in truth, so we remain invested even when Hoffman's character defends his antics on the set of a commercial in which he played a tomato by remarking, "I did an evening of vegetables on Broadway."

The cheesy theme song is a little hard to bear, but it is the 1980s, after all. Also forgivable are the somewhat unrealistic depictions of the entertainment industry. Perhaps it's just me, but after many, many years of auditioning, not once have I ever heard the producer confirm that I had the part three seconds after I finish the read. As much as I wish it did, it just doesn't happen that way. Nor would a soap opera ever decide to record an episode live to air with only half a day's notice. Logistically, that would be near impossible. In any case, the overall charm of the piece easily makes up for all of these sketchy and convenient plot points. Well, all but one. The all-important climax plays out far too quickly to be believable. Then again, considering the incredibly awkward and unforgivable situation in which our protagonist finds himself, I'm not sure there is any satisfactory way to resolve this story. At least Michael himself seems aware of the depth of his predicament when he confusingly confesses, "I was a better man with you as a woman than I ever was with a woman as a man." Funny, but not really enough to make me buy that Julie would forgive such a humiliating deception so instantaneously.

Nonetheless, despite the improbable ending, the picture is delightfully appealing. And, in a rare occurrence for a comedy, the Academy bestowed ten nominations on the film. Dustin Hoffman (pictured) received a Best Actor nod, delivering a masterfully honest performance in a role that could so easily have been played for silly laughs. Both Teri Garr and Jessica Lange garnered Best Supporting Actress citations for their respectively wacky and touching portrayals, the latter winning the prize. Bill Murray turns in yet another amusing performance full of wonderfully dry wit. Not only does Sydney Pollack helm the film with aplomb, but he also appears on screen, holding his own in several word-sparring scenes with Hoffman. In her film debut, Geena Davis is quirky and cute, and see if you can spot a pre-Golden Girls Estelle Getty in a bit part.

1982 - The Verdict

As I write this, I am surrounded by boxes and bags, full of Kat's and my belongings, in preparation for our apartment move next week. I cannot express how much I abhor moving, and yet somehow, I seem to have moved every couple of years. Interestingly, even though we are staying in the same neighbourhood - our new apartment is only about a mile away from our current one - the move from Australia to the States seemed somewhat easier. Sure, there were all sorts of administrative things to worry about then, but the actual transport of our belongings was rendered much simpler by the fact that we just bought all our furniture anew. Thus, all we really brought with us from Sydney were clothes. Now, we have a whole apartment of stuff to schlep. How did we accumulate so many things in just two years?

Next up in 1982's selection of Best Picture nominees is...

The Verdict
Director:
Sidney Lumet
Screenplay:
David Mamet
(based on the novel by Barry Reed)
Starring:
Paul Newman, Charlotte Rampling, Jack Warden, James Mason, Milo O'Shea, Lindsay Crouse
Academy Awards:
5 nominations
0 wins

Frank Galvin (Newman) is barely a lawyer and mostly an alcoholic. When he's not at the bar drinking and playing pinball, he scours for business at strangers' funerals. Yep, he's an ambulance-chaser, and he's not even very good at that. Fortunately, his friend Mickey (Warden) sets Frank up with a case he can't lose - a medical malpractice suit involving a young woman who fell into a coma. Both the hospital and the victim's family are keen to settle out of court, but Frank unexpectedly refuses the generous settlement to take the case to trial - something about "doing the right thing". With the ruthless Ed Concannon (Mason) as opposing counsel and the unsympathetic Judge Hoyle (O'Shea) presiding, Frank has his work cut out for him. Somehow, amid this incredible workload, he also manages to begin a relationship with the intelligent yet mysterious Laura Fischer (Rampling), who is not entirely who she seems.

I must admit, I do love a good Sidney Lumet film. The sadly Oscarless director was nominated for his deft hand here, another fine example of his subtle style. Nothing is ever forced down the audience's throat. On the one hand, he uses abundant wide shots, allowing us to witness the entire scene unfold. On the other hand, he lingers on simple yet meaningful looks, leaving us to solve the puzzle on our own. The credit for the effectiveness of those wordless moments must also be given to Oscar-nominated scribe David Mamet and his artfully expressive screenplay.

If I were to find fault anywhere in this fine picture, it would have to be with the initial stages of Frank's relationship with Laura. This subplot's connection to the rest of the narrative seemed somehow strained. I even pondered whether Charlotte Rampling's character was even necessary at all. Until, of course, the twist that makes Laura's existence in the story abundantly clear. Only then does she become a truly fascinating study. Perhaps part of the problem early on is that unusually grave and overly dramatic score underneath the scenes between Frank and Laura. So much like a horror movie score, in fact, that I almost expected Laura to peel off her face and reveal an alien underneath.

In any case, that's a relatively minor issue in what is honestly an excellent film. Paul Newman (pictured) carries the film superbly with a reflective and sensitive (and Oscar-nominated) performance. The ever watchable James Mason also garnered a nomination for himself delivering a delightfully restrained portrayal of an obstinately driven lawyer. Rounding out the cast are Charlotte Rampling, Jack Warden and Milo O'Shea, each with exceptional performances. And keen-eyed viewers will spot a pre-stardom Bruce Willis appearing as an extra in the final courtroom scene.

1982 - Missing

Our friends at the Academy have announced a change to the recently-adopted rule concerning the number of nominees for Best Picture. After only two years of a ten-horse race, next year's shortlist will consist of anywhere between five and ten nominees, depending on how many films receive the requisite five percent of first-place votes during the nominating procedure. After studying the hypothetical results that this method would have produced in the past decade, it appears we may consistently have seen greater than five nominees, but fewer than ten. In other words, forcing only five nominees sometimes may have left some worthy films by the wayside, yet making it compulsory to cite ten films for the top award may have allowed one or two less than stellar pictures to sneak in.

Undoubtedly, this new change will have its critics. Some will certainly say that the Academy is changing its rules too often. Indeed, it seems plausible that this announcement is in response to criticism of its move to ten nominees two years ago. However, for me, at the risk of once again sounding like an Academy lackey, I'm going to put my hand up in support of this development. Each year presents us with a different number of excellent films, so it makes sense not to constrict the number of nominees. In that context, this approach seems the most appropriate way to gauge Academy members' opinions.

Meanwhile, we kick off our review of 1982's nominees for Best Picture with a look at...

Missing
Director:
Costa-Gavras
Screenplay:
Costa-Gavras & Donald Stewart
(based on the book by Thomas Hauser)
Starring:
Jack Lemmon, Sissy Spacek, Melanie Mayron, John Shea, Charles Cioffi, David Clennon
Academy Awards:
4 nominations
1 win, for Best Adapted Screenplay

Beth (Spacek) and Charlie (Shea) are living in a politically volatile South American country when things get shaky. With a curfew in place, Beth is unable to get back home from visiting friends when she misses the last bus. The next morning, she arrives home to an empty house and her neighbour tells her that Charlie was arrested yesterday by the country's military officers. Attempts at some answers from the U.S. Consulate prove fruitless and soon Beth is joined by her father-in-law Ed (Lemmon) who has travelled from New York to help find his son. A conservative man with little respect for his son's leftist leanings, Ed initially rubs Beth the wrong way. But the two must learn to work together to unravel the mystery of exactly what happened to Charlie.

Even before the mystery of Charlie's disappearance becomes the focus, Missing's opening act is somewhat mysterious itself. As a result of the filmmakers' attempts at avoiding explicit references to certain real-life people and places, I found myself a little confused as to where exactly the film was set and, more importantly, why on earth the protagonists were there in the first place. Perhaps it is my lack of knowledge on South American history, for only a very small amount of research is needed to discover that the film's location is Chile during the coup d'etat of 1973.

There is an overt sincerity to this picture, right from the opening caption and accompanying narration that espouses its basis on documented fact. Declassified documents released well after the film was made seem to indicate that the U.S. government did actually have some involvement in the Chilean coup and yet, the film's sincerity still resembles the ramblings of a conspiracy theorist. Most, if not all, the government types are painted as corrupt and they are alleged to be complicit in Charlie's disappearance after he learns too much about the U.S. military's presence in the region. These details may indeed be accurate - my admittedly limited research revealed some compelling yet inconclusive circumstantial evidence - but, either way, the characters are a tad too black-and-white for my liking. Despite some superficial dialogue, the intense subject matter and the captivating suspense keep the narrative dangerously engaging. A little anti-climactic, perhaps, but the Academy saw fit to bestow a Best Adapted Screenplay Oscar on the film.

Missing also boasts a superb cast. Sissy Spacek and Jack Lemmon (pictured) work extremely well together, resulting in them both being nominated for lead Oscars. Then, there is the cornucopia of well-known faces from television. As the subject of the film's title, John Shea (known to Lois & Clark fans as Lex Luthor) is charming and passionate. Melanie Mayron (an Emmy winner for thirtysomething) plays the inquisitive and supportive friend. Joe Regalbuto (famed as Frank Fontana in Murphy Brown) portrays another victim of the new regime. Finally, Jerry Hardin (known for his role as Deep Throat in the definitely conspiratorial-themed The X-Files) appears as a U.S. Army Colonel.