I feel like my old self! Yahoo. May the next round of pesky cysts take a decade to grow to the size of melons instead of a year.
So, as I was lying around for the last two months, I watched a lot of stuff and that’s it. It was stuff. I am not finding anything on Netflix that is capturing my interest. There are only a couple of movies worth talking about. I thought I’d share that pair in my next post.
I find I’m retreating to books for entertainment. One I can recommend is the 2017 historical fiction account of a Milan teenager who shares his heroic WWII spy story. Pino Lella is in his 90s and told his story to author Mark Sullivan. Pino was a homegrown Alpen hiker and skier who helped a Catholic priest send Jews over the Italian Alps to freedom. In the second half of the account, Pino agreed to become a spy by being the personal driver to a high ranking Nazi official. He also found time to fall in love. This is a personal narrative that has enough adventure to entertain anyone. It’s an easy read and one of those true stories that make you marvel about the resilience of the human race. True entertainment. 4.3/5.
Spider-Man star Tom Holland reteams with former Sony Pictures boss Amy Pascal through her Pascal Pictures company to star in the film version of Mark Sullivan’s book. The director and script are unchosen as of today. You have time to read the book first before the film comes out. It has the potential to be a huge hit if they can find the right director and screenwriter.
In the late 1950s, Sir John Gielgud and Sir Laurence Olivier, so taken by Richard Burton‘s voice and acting, proclaimed he could become the best stage actor of the 20th century. Being a film star seemed unseemly by comparison. Which would Burton rather be? To which, according to Furious Love authors, Sam Kashner and biographer Nancy Schoenberger, Richard replied, “Both.”
Richard Burton reprised his role in Hamlet and gave over 160 performances in 1964 at the Lunt-Fontanne Theatre. If you watch the “To Be or Not to Be” video below you can see how the two British heavy-hitters could think so. Richard Burton’s masculinity exudes confidence and virility. On stage, his tempo slows and speeds, his pitch rises and falls, and his presence mesmerizes. His memory for reciting poetry was impressive, and he could say the famous soliloquy backward if asked.
In Furious Love, which is turning out to be an interesting biography, is about the influence of Elizabeth Taylor on him. Richard transformed from stage acting sensation to film star due to their notorious love affair evolving into a toxic love that would define the phrase “madly in love.”
I really don’t care to hash up and discuss that toxicity. If you are unaware of their thirteen years together, in summary, they boozed, screamed, slapped, fought, swore, and shagged a lot. Their lustful appetites turned the pair into a global, tabloid extravaganza.
Elizabeth Taylor was the highest paid female film star in show business by 1960 when Richard Burton and she fell in love on the set of Cleopatra. It took three years to make and was hacked and edited into a sprawling mess to the point that it put the kibosh on the career of director Joseph Mankiewicz (All About Eve). He would blame their affair and its subsequent distractions the reason the film was the bumbling elephant that it was. For my winter project, I haven’t watched Cleopatra yet. The 5h 20m running time has me intimidated. I might skip to the intermission and watch the latter half…
Anyway, Richard was in awe of her film star reputation, but he didn’t understand why Elizabeth just stood there. “She doesn’t do anything!” Burton told Mankiewicz. He replied, “Ah, just wait. Look, look at her on film.” Richard learned from Elizabeth that acting in a film called for subtlety. Try acting in film as you would on stage and they’ll say you’re chewing the scenery in a second.
It appears to me that as I continue to watch Richard Burton films, he seems to swing back and forth between that stage actor where he is brilliant and the film actor that seems at times too conservative. For example, take Becket(1964). Richard Burton was nominated seven times for an Oscar during his career. This film was one of them. In it, Burton underplays his character next to the bouncy Peter O’Toole, a true scene chewer.
Becket is a wonderful film. I wondered while watching Richard Burton’s performance if he didn’t grapple with his stage sensibilities and his acting in the film. Was it erratic? Do you prefer Richard Burton who comes to life and pure energy spills forth out of his mouth and eyes? Or do you prefer Richard whose voice becomes monotone and he seems to be in a body cast? Ha! I guess you know which one I prefer. In other words, it is interesting for me to notice how he delivers his lines. Should he be theatrical or does he convey his character best by curbing his enthusiasm?
I watched the 1959 kitchen sink play adaptation Look Back in Anger and loved it, especially that fantastic opening directed by Tony Richardson. Jimmy Porter is a young man in Britain who boils under the surface. He is trapped in the drudgery of his life and takes out his frustrations on his pretty wife who cringes and eventually throws in the towel on the marriage and goes home with Daddy. While I didn’t care for Mary Uhr‘s uninspired performance in Where Eagles Dare, in this film, she is convincing as the pregnant, battered wife. I just watched The Spy Who Came in From the Cold and was surprised to see Claire Bloom again. What a coincidence. She’s a fine actress in both films. Watch this clip and tell me if you think Richard Burton’s portrayal of Jimmy is over the top or just right. 4/5 TCM scene clip “The Proper Time”
When Burton performs a play adaptation, these are my favorite performances, so far. I picked Richard Burton because there are a lot of films I haven’t seen. Maybe my opinion will change as I watch more of his films. Who’s Afraid of Virginia Woolf is forthcoming in a post of its own. However, one of my favorite Richard Burton performances is in The Night of the Iguana, a story by Tennessee Williams and directed by John Huston. You can read more about the film found here: Night of the Iguana film spotlight
He’s theatrical and fun to watch. Burton luxuriates in the Puerto Vallarta setting with three bewitching women (with Elizabeth standing guard on the set) and delivers his lines with enthusiasm. I am glad Burton did not go for subtelty in the role of Rev. Dr. T. Lawrence Shannon, who has troubles living up to the standards expected of a man of the cloth, specifically when it comes to sexual appropriateness. Seriously, what man wouldn’t be tempted by Sue Lyon? 4.5
Anton Chekhov‘s characters suffer. They lament because life is a waste, or they suffer from the sharp blade of unrequited love. Life is a jail sentence, and each stage is a desperate attempt at happiness that rarely endures. Here’s an excerpt from one of my favorite stories by him.
A shy soldier with no experience with women is forced to attend a party when something miraculous happens. Taking a wrong turn in the mansion, he finds himself in a study in complete darkness.
Ryabovitch stood still in hesitation. . . . At that moment, to his surprise, he heard hurried footsteps and the rustling of a dress, a breathless feminine voice whispered “At last!” And two soft, fragrant, unmistakably feminine arms were clasped about his neck; a warm cheek was pressed to his cheek, and simultaneously there was the sound of a kiss. But at once the bestower of the kiss uttered a faint shriek and skipped back from him, as it seemed to Ryabovitch, with aversion. He, too, almost shrieked and rushed towards the gleam of light at the door. . . .
When he went back into the drawing-room his heart was beating and his hands were trembling so noticeably that he made haste to hide them behind his back. At first, he was tormented by shame and dread that the whole drawing-room knew that he had just been kissed and embraced by a woman. He shrank into himself and looked uneasily about him, but as he became convinced that people were dancing and talking as calmly as ever, he gave himself up entirely to the new sensation which he had never experienced before in his life. Something strange was happening to him. . . . His neck, round which soft, fragrant arms had so lately been clasped, seemed to him to be anointed with oil; on his left cheek near his mustache where the unknown had kissed him there was a faint chilly tingling sensation as from peppermint drops, and the more he rubbed the place the more distinct was the chilly sensation; all over, from head to foot, he was full of a strange new feeling which grew stronger and stronger. . . . He wanted to dance, to talk, to run into the garden, to laugh aloud. . . . He quite forgot that he was round-shouldered and uninteresting, that he had lynx-like whiskers and an “undistinguished appearance” (that was how his appearance had been described by some ladies whose conversation he had accidentally overheard). When Von Rabbek’s wife happened to pass by him, he gave her such a broad and friendly smile that she stood still and looked at him inquiringly.
“I like your house immensely!” he said, setting his spectacles straight.
A single incident transforms Ryabovitch. From his dutiful existence, conditioned and dull, he intercepts the force of surprise and experiences the warmth of attraction. A soul unaware of how starved it is for romance and attention. One moment unmindful. The next, the flicker bursts to flame. I like stories written around turning point moments in life.
The Lady with the Dog (1960)
Yalta. Who wouldn’t fall in love? Anna Sergeyevna (Iya Savvina) is a young wife and alone. She parades around the boardwalk with her fluffy white dog looking beautiful. She attracts the handsome, older banker Dmitriy Dmitrich Gurov (Aleksey Batalov), who is also married and alone. The two experience a passionate affair. When responsibilities separate them, Gurov returns home to his privileged life no longer satisfied. I don’t think Chekhov is saying we should dishonor our reputations and responsibilities. I think he means that we choose our lives and then find we are eventually stuck in them. His story may feel dated to viewers today, but his truths about love and relationships are universal.
Vanya on 42nd Street (1994)
Louis Malle directed this twist on Chekhov’s play Uncle Vanya. Theater director Andre Gregory and his actors, including Wallace Shawn as Vanya and Julianne Moore as Yelena, arrive at the New Amsterdam Theater in New York’s Times Square, making casual conversation among themselves. While still wearing their street clothes, the actors perform the play on a nearly blank stage. Julianne Moore is young and gorgeous as her presence tempts the frustrated Vanya. His life has been wasted behind the shadow of others. The film has a slow start which gains momentum and eventually becomes exciting. Chekhov’s language is mesmerizing. The questions raised by Vanya stay with you long after the film is over. Not sure I buy Wallace Shawn as Vanya, but Julianne Moore was marvelous. 3.8/5
The Seagull (2018)
Do you like love triangles? Then you’d enjoy The Seagull. Age and unrequited love are major themes in this Chekhov play adaptation. Saoirse Ronan gives a satisfying performance as the ingenue Irena who falls for older Boris Trigorin (Corey Stoll) who is the lover of Russian diva Irina (Annette Bening). The cast delivered but none better than Elisabeth Moss who makes the most of her tragic character, Masha. I thought the execution of time by director Mayer disjointed. But I enjoyed the subtle interplay between the characters even though the large personalities were melodramatic to the point of distraction–but that just might be the camera editing which at times seemed choppy. Overall, the setting, the cast, the plot by Chekhov is an entertaining dark comedy. 4.5
What are your favorite adaptations, short stories or plays by Chekhov?