Category: Actors

“Persuasion” (2022) starring Dakota Johnson, Cosmo Jarvis, & Henry Golding

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Anne Elliot [lamenting her status w/ Frederick]: Now we’re worse than strangers, we’re exes.

To put it succinctly: this movie (streaming on Netflix) is a hot mess! Y’all MUST have seen/heard some of the horrible to “meh” reviews, as it has been out since July 15. I’m NOT going to recount the plot here, as I’m sure MOST of my regular readers know it. To start, this movie (which often breaks the 4th wall) is confused; it doesn’t know which audience it wants to aim at- Gen Z or Millennials (particularly “wine moms”). It’s certainly NOT geared toward mature/long-time Jane Austen fans (AKA Austenites)! One young woman in a JA Facebook group asked: “Was Anne Elliot supposed to be an alcoholic in the book?” LOL! It would be funny, IF it wasn’t so sad (or disappointing).

Mrs. Clay [commenting re: beauty standards]: They say if you’re a 5 in London, you’re a 10 in Bath.

Even before the movie was out, MANY viewers/critics were appalled by the trailer. I decided to be chill and give it a chance- ugh, curse my (slightly) optimistic personality! While watching, I don’t think I found it funny, emotional, or even slightly interesting. OK, the scenery was nice- that’s about it! There more telling instead of showing, which is a no-no (as reviewers involved in filmmaking commented). There are zero funny moments (IMO), unless you find cringe-y lines humorous. Anyways, this tale is NOT supposed to be light-hearted.

The filmmakers here have characterized Anne all wrong; she’s a mix of Elizabeth Bennett (Pride and Prejudice) and Emma Woodhouse (Emma). No longer is Anne introverted, observant, and self-sacrificing, she blabs her opinions, jokes around (incl. w/ men who are strangers), and drinks (red wine) often! This is the main problem book fans had, I’ve noticed. Dakota Johnson is probably NOT a bad actress (I haven’t yet seen much of her work), BUT she is wrong for this role. As some astute viewers commented: “She has a face that has definitely seen a cell phone.” Even some of the costumes are confusing; one glaring example a costume designer pointed out was Anne wearing black/fishnet gloves in the concert scene.

Sir Walter Elliot: What use is a title if you have to earn it? What use is anything if you have to earn it?

What about the supporting cast? They don’t fare much better than Johnson, sad to say. There is TOO much talking going on btwn Anne and Capt. Frederick Wentworth (Cosmo Jarvis); notice all the chatting on the beach at Lyme. Jarvis (haven’t seen his work either) looks uneasy in his costumes and his face often has the same (pained) expression. His line delivery sounds awkward, BUT then so was much of his dialogue. As Anne’s father, Sir Walter Elliot (Richard E. Grant- a veteran character actor), provides a BIT of humor. Anne’s scheming cousin, Mr. Elliot (Henry Golding), is also a ray of light- though he doesn’t have much to do. The Crofts get V little to do also; that’s disappointing since they are such a LT/compatible couple. The MOST cringe-y moment (IMO) involves Anne and her older/widowed neighbor, Lady Russell (Nikki-Amuka Bird), as they have a picnic outdoors. Anne asks Lady Russell: “But do you ever miss company?” (meaning the company of men- or sex)! Oy vey…

Unlike most JA adaptations you MAY have seen in the past, this movie has “color conscious casting.” “Color-blind casting” is the practice of casting actors w/o considering factors such as ethnicity, skin color, body shape, sex, or gender. However, color-conscious casting is the practice of casting actors where these features are considered. Anne’s younger sis, Mary Musgrove (Mia McKenna-Bruce), has a husband (Charles) who is played by a Black actor; their (adorable) young sons are thus biracial. Charles’ younger sisters are played by 2 biracial actresses: Nia Towle (Louisa) and Izuka Hoyle (Henrietta). Though Louisa was trying to get Anne and Wentworth together for a time (all wrong from the book), I thought Towle was a fine actress (as did many other viewers). You can see this version and judge for yourself, BUT I recommend the 1995 movie (starring Ciaran Hinds and Amanda Root) or the 2007 miniseries (starring Sally Hawkins and Rupert Penry-Jones) instead!

“Yellow Sky” (1948) starring Gregory Peck, Anne Baxter, & Richard Widmark

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In 1867 in the West, a band of bank robbers flee from the U.S. Cavalry into the desert on horseback. These men are: James Dawson AKA Stretch (Gregory Peck- one of Hollywood’s top leading men), Dude (Richard Widmark- a film noir darling/respected character actor), Lengthy (John Russell- a tall/darkly handsome actor who later became a lead on TV), Bull Run (Robert Arthur), Half Pint (Harry Morgan- long before fame on M*A*S*H), and Walrus (Charles Kemper). Near death from lack of water, all (except Walrus), stumble into what appears to be a ghost town (Yellow Sky). However, they soon discover a prospector, Grandpa (James Burton), and his “tomboy” granddaughter, Constance Mae AKA Mike (Anne Baxter- already an Oscar winner for her supporting role in All About Eve). After Dude discovers that this old man has been mining gold, the gang plan to steal from his claim.

James (Stretch) Dawson: Quite a punch you got there, ma’am. Come in mighty handy when you get married.

I learned that Widmark acted in a few Westerns, thanks to another classic movie fan (via Twitter). Yellow Sky is categorized as a noir Western. The director’s name may be familiar; William Wellman directed the original version of A Star is Born (1937). The story was by W.R. Burnett (one of the most influential writers in film history); the screenplay was by Lamar Trotti. The music was composed by one of the best in the field, Alfred Newman; he created the 20th Century Fox logo theme (which is still used today). In 1940, Newman was nominated for 4 Oscars for 4 different films- wow!

Shakespeare’s The Tempest influenced the plot/characters; I learned this from the review that indie director John Sayles did. However, Wellman said in the book, The Men Who Made the Movies, that he had no idea of the connection. In the fight between Lengthy and Mike at the spring, Baxter’s stunt double- Martha Crawford- was used. Peck broke his ankle in 3 places after falling from his horse in one scene, so the man wrestling w/ Baxter in the hay was his stunt double, Jock Mahoney. Wellman noted that Baxter hated working w/ Peck, BUT never gave a reason why. Hmmm… I found this surprising, b/c I’ve never heard of Peck’s co-stars having serious issues w/ him!

I’m NOT yet V familar w/ the Western genre, though I mostly grew up in the desert (Tucson, AZ). This movie is visually stunning w/ stark black and white photography of the natural landscapes. The filmmakers received permission to shoot in Death Valley, which had the dangers of extreme heat, scorpions, and tarantulas- yikes! Peck and Widmark make believable frenemies; they’re NOT only opposites physically, BUT also have different personalities. Each of the 6 men has his own style of speech, unique costume, and scene in which to reveal his character. The romance develops over a few scenes, as Mike learns that Stretch is NOT a bad man (deep down). The last scene looks tacked on (by Hollywood studio execs), as Sayles commented. This movie was re-made in South Africa as The Jackals (1967) starring Vincent Price.

[1] Gregory Peck plays the leader Stretch, an actor normally associated with a straight-laced gait, here he is is weather worn and tired, his portrayal of Stretch as convincing as a role I have seen him tackle. Richard Widmark, in what I believe to be his first Western entry, is truly magnetic, a smirking, snarling Dude that you just know you couldn’t trust if your life depended on it. Anne Baxter plays the sole female character of the piece (Mike), and she is pivotal to the whole film’s strength, tough and full of spunk, her grasping of the situation in amongst these ragged men gives the piece it’s time bomb ethic, and boy does Baxter do well with it.

[2] Performances are superb from all concerned. Peck gives one of his usual stalwart portrayals. Richard Widmark, in his first western is superb as the slimy, crafty double crosser. Also excellent is John Russell as the womanizing gang member (“Now ma’am, you wouldn’t shoot a fine young handsome fella like me, would ye?”)

[3] The main thing you might not catch is that this is an adaptation of “The Tempest,” by Shakespeare. Here, the band of travelers crosses a metaphoric sea (the desert) and reaches a “New World” where they sort out what matters between them. The set was built (and deliberately destroyed) from an old silent film set that was left over.

William Wellman was one of those consistently excellent directors who never really made a bad film, but didn’t always make exceptional ones, and this one is right in his usual mix of strong visuals, tight editing, fairly simple dramatic plots, and a key actor or two to identify with.

-Excerpts from IMDb movies

“Don’t Bother to Knock” (1952) starring Richard Widmark, Marilyn Monroe, & Anne Bancroft

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SHE’S DYNAMITE! It Opens the Door on the Screen’s Most Exciting New Personality- MARILYN MONROE -A tag line (on the movie trailer)

An airline pilot, Jed (Richard Widmark), stays at the NYC hotel where his gf, Lyn (Anne Bancroft- just 20 y.o.) is a singer. Some guests have lived in this hotel for yrs (and call it “home”); others are visiting for a short time (business/vacay). Some employees have been around a long time also; Eddie (Elisha Cook, Jr.) has been an elevator operator for 7 yrs. Jed notices a young woman (wearing a black kimono) across the courtyard on the opposite side of the hotel. They start out flirting by playing w/ their window blinds, then he calls her on the phone. They decide to meet-up in her room. As they drink and talk, Jed comes to realize that this woman, Nell (Marilyn Monroe at 25), is NOT as uncomplicated as she looks. I’m NOT going to reveal more, as I don’t want to spoil the surprises!

Jed [to Nell on the phone]: Are you doing anything you couldn’t be doing better with somebody else?

The screenplay was written by Daniel Taradash, based on the novel- Mischief– by Charlotte Armstrong, published in 1951. I had never heard of the director, Roy Ward Baker, before; he worked in small-budget Hollywood films for a time after (before returning to his native England). There is nothing showy re: the style; it’s understated (NOT unlike an ep of a TV show). The acting is well-done when it comes to each role, incl. the minor ones that add flavor to the story. We get the (rare) chance to see Widmark (star of many noirs) as a regular (and mostly relatable) guy! He shows a lighter (and charming) side. Bancroft is beautiful, mature beyond her age, and sings V well.

I learned that 1952 was a great year for Monroe; she made her mark in Clash by Night (acting opposite Stanwyck), Monkey Business (I still need to see), and this film. She’d played small roles in 2 great films released in 1950: the much-acclaimed All About Eve and the noir classic The Asphalt Jungle. The (iconic) actress commented that this was one of her fave roles. Some fans noted that Monroe’s hair/make-up is much more natural than in her later film; she’s gorgeous (of course). However, when you see the fine quality of her acting, you’ll be wow-ed even more!

Marilyn Monroe wanted to be this great star, but acting just scared the hell out of her. That’s why she was always late- couldn’t get her on the set. She had trouble remembering lines. But none of it mattered. With a very few special people, something happens between the lens and the film that is pure magic. And she really had it. -Widmark on his co-star

“Whirlpool” (1949) starring Richard Conte, Gene Tierney, Jose Ferrer, & Charles Bickford

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Tomorrow she will know what she did tonight! -A tagline (on the movie poster)

Ann Sutton (Gene Tierney), the wife of a well-known psychoanalyst, Dr. William Sutton (Richard Conte), falls prey to a smooth-talking hypnotist, David Korvo (Jose Ferrer), when he discovers she’s a shoplifter. Ann is V ashamed and refuses to reveal her problem (“kleptomania”) to her husband, BUT thinks Korvo may be able to help her out. What are this man’s true intentions? Soon, one of Korvo’s former patients, Teresa Randolph (Barbara O’Neill)- now being treated by Dr. Sutton- is found murdered. When police find Ann at the scene of the crime, suspicion points her way! The man in charge of the case is Lt. James Colton (Charles Bickford), a grizzled cop and recent widower.

David Korvo: You were wise not to tell your husband, Mrs. Sutton. A successful marriage is usually based on what a husband and wife don’t know about each other.

This movie was directed by Otto Preminger, known for his talent and also V difficult personality. However, there is no doubt that he could get fine performances from actors (though his style was NOT pleasant). I think Preminger used close-ups well to build tension in this movie. The screenplay was written by Ben Hecht and Andrew Solt; it was adapted from the novel Methinks the Lady by Guy Endore. The cinematography was by Arthur C. Miller. The music was composed by David Raksin (a protege of Alfred Newman). Noir-istas MAY have noticed, as in the movie Laura (also directed by Preminger/starring Tierney), some of the same works of art appear as here (a standing Buddha and a collection of masks).

Some viewers commented that though the script was weak, the acting was good. Tierney (as always) looks beautiful, acts graceful, and has a sophisticated air. Conte does well, though this isn’t the type of (intense/exciting) role he usually plays; you’ll hear his New York slip out sometimes. I liked the scene where William confronted Korvo in the hospital; we see anger mixed w/ sadness (suppressed tears) in Conte’s eyes. Director Elia Kazan and actor John Garfield “discovered” Conte while he was working at a resort in the Catskills (frequented by members of The Group Theater). They saw his potential and encouraged him to study acting.

Jose Ferrer (no relation to actor Mel Ferrer) was a Puerto Rican actor/director; he won the Best Actor Oscar for playing the title role in Cyrano de Bergerac (1950). He was the 1st Puerto Rican actor to win an Academy Award, and also the 1st Hispanic actor to do so. Ferrer was married for many yrs to singer/actress Rosemary Clooney (aunt of George). Like many of his era, Ferrer came from the theater; he appeared in many Broadway plays (most notably as Iago in Othello: 1943-1944). Here he plays another compelling villain; Korvo navigates high society w/ charm/manners (but is dangerous to know). Who doesn’t like (or like watching) a “bad boy?”

[1] …Preminger’s movie is a compelling little piece of cinema. The central theme of hypnosis as a weapon gives the film a dark edge and Preminger nicely portrays a world containing sympathetically flawed characters.

[2] There’s a lot of pop psychology hokum floating around in the story, which needn’t be gone into, except to say that hypnosis is a curious altered state of consciousness that isn’t well understood at all. Some people are good subjects and some not. The good ones are really good. […] Sometimes, with some people, it really WORKS. I’m not so sure about self hypnosis though. We’ll know more, I guess, in another generation or so.

The surprises are real enough and the story is engaging. Ferrer stands out as the heavy, Tierney with her little girl voice doesn’t have to do much, and Richard Conte as the psychoanalyst is stolid, which is what the role calls for. Worth seeing.

-Excerpts from IMDb reviews

“You Belong to Me” (1941) starring Barbara Stanwyck & Henry Fonda

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A JOYOUS REUNION OF THE STARS OF “THE LADY EVE” -Tag line on original movie poster

A young general practitioner, Dr. Helen Hunt (Barbara Stanwyck), meets a millionaire/playboy, Peter Kirk (Henry Fonda) when he crashes at her feet during her vacay at a California ski resort. He insists ONLY she can treat his (minor) injuries; it’s obvious he has a crush on her. After knowing each other for a few days, Peter suddenly proposes marriage- Helen accepts! They marry and settle in his (huge) estate somewhere in LA. On their wedding night, Helen is called away on a medical emergency. When she returns, Peter has fallen asleep. Soon, Peter becomes jealous of her career, getting into physical altercations w/ two male patients (yikes)!

Peter: Are there many lady doctors?

Helen: A few.

Peter: As beautiful as you?

Helen: No doubt.

Peter: The time I’ve wasted being well.

There are (serious) underlying themes in this movie. Remember that this was a time (here in the US) when women (who could afford it) quit their jobs immediately after they got married. Professional women (incl. doctors) made up a small percentage of the workplace. Fonda and Stanwyck make a believable couple, as they have (obvious) romantic chemistry. Stanwyck had great comic timing; Fonda was good at using his physicality for humor. There are some close-up shots of both actors that are gorgeous. Peter is no doubt “problematic” (as the young’uns say today); he goes from sweet/chill to irrational/jealous! As one astute viewer commented: “The Stanwyck character would’ve dumped this guy in 24 hrs in real life.”

The script has some snappy dialogue, as well as a few fine scenes for the supportive players. Billings (Edgar Buchanan) is the grumpy gardener who offers down-to-earth advice to Peter. Moody (Melville Cooper) is the stuffy butler full of sly comments for the entire household. Ella (Maude Eburne) is the understanding nurse/secretary to Helen. I learned that a young Lloyd Bridges (uncredited) plays one of the ski patrol (early in the film).

[1] …feminists would probably be aghast at it.

In fact, Barbara Stanwyck herself didn’t like it at all. She liked working with Henry Fonda right enough, but thought this film was ridiculous. As well she should have.

[2] The first portion at the ski lodge and the next did NOT fit well together, nor did the final “Horatio Alger” inspired section…

[3] In a year where Stanwyck was really busy, three out of four films have become classics. One of them had to be a disappointment, and this is it, albeit a minor one. She was a sexy gold-digger (opposite Fonda) in “The Lady Eve,” a sequin-wearing gangster’s moll nightclub entertainer in “Ball of Fire”, and a hard-as-nails reporter in “Meet John Doe.” Those films all have outstanding screenplays, something this one lacks. The comedy moments are infrequent…

-Excerpts from IMDb comments