Passion Fish (1992)

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John Sayles’ movies are just a treat for an intelligent viewer- thoughtful, multi-dimensional, and well-developed (you go through a journey with the characters).  The respected (yet not widely-known) writer/director doesn’t do any tricks with the camera, choosing instead to let the focus be on his characters.  In Passion Fish, Sayles (a masculine feminist, in my opinion) unfolds the story of two very complicated, stubborn women.  You need to be patient when you watch this type of picture, as things unfold in at a slower pace than in typical modern Hollywood movies.

Mary-Alice Culhane (Mary McDonnell) is a soap opera actress living in NYC when a freak accident results in her paralysis from the waist down.  She decides to move back to her old childhood home in the Louisiana bayou, drink heavily (wine is her favorite), watch TV, and torment several female caregivers who come to work for her.  They quickly leave the job, of course.   Mostly, Mary-Alice wallows in self-pity, feeling that her life is over.

Finally, a determined young African-American nurse from Chicago, Chantelle (Alfre Woodard), comes to work for the diva.  We learn eventually that she desperately needs this job, as well as a place to live.

Don’t worry, this film has a few men, too.  When Mary-Alice’s old car breaks down, Chantelle meets (and gets hit on) by a charming, fun-loving cowboy nicknamed Sugar (Vondie Curtis- Hall).  At the gas station, she meets another local, quiet and handy Rennie (David Strathairn).  It turns out that he and Mary-Alice knew each other since childhood.  Rennie offers to come work on the old Culhane house, so she can get around with the wheelchair.

Watch for a few other characters (and surprises they bring).  Angela Bassett has a few nice scenes as Mary-Alice’s best friend and former co-star.

Wiseguy (Season 1, Part 1)

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It’s cool to see so many ’80s shows coming out on DVD, Hulu, Netflix, etc.  Some deserve a second look, though the cars, clothes, hairstyles may be dated.  One of the shows that recently caught my attention is Wiseguy (a crime drama which originally aired from 1987-1990 produced by Stephen J. Cannell).  Unlike other shows before it, and not many since, the series had several story arcs and focused on the consequences of life undercover.  (Look for a young Annette Bening in this arc.)

Vincent Terranova (Ken Wahl, who acted with Paul Newman and received praise for his natural acting ability) is an agent in the (fictional) organized crime division (OCB) of the FBI.  He’s young (just 30 y.o. at the start of the show), a first generation Italian-American (who can actually speak Italian), and from working-class Flatbush, Brooklyn.  He’s very proud of his heritage and community.  Being very close to his family, they are an integral part of the show; older brother Pete (Gerald Anthony) is a local priest; his mother (Elsa Raven) is a widow in somehwhat fragile health.  We learn later that Vinnie’s father was an honest man all his life; he drove a bread truck, never succumbing to the tempation of easy money, crime, and so on.

In the 2 hr. pilot, Vinnie is released from Newark State Pen after 18 mos.  He’s earned the rep of “wiseguy,” but this disturbs him deeply because his mother refuses to see him.  When he angrily asks his superior officer Frank McPike (Jonathan Banks) why he had to do the full sentence, McPike points out that it had “to look real.”  He’s now supposed to go to his first undercover assignment, but Vinnie insists on time off.  Suddenly, Vinnie’s traning officer is murdered by the older brother of Atlantic City Mafia leader Sonny Steelgrave (Ray Sharkey).  This propels the agent into action.

Vinnie uses his wit, natural bravado,  and boxing skills (he’s a former Golden Gloves fighter like Sonny) to win the respect of the mafioso and enter a new world (“terra nova” translates directy to “new land”).  Sonny decides to take him on as a driver and gives him a huge penthouse suite in one of his hotels.

Vinnie (ideally) calls Lifeguard (Jim Byrnes) every morning with the latest updates on the case, and is provided with quick news from the OCB side. Lifeguard also, under the name of Mike Terranova, provides Vinnie with an emergency contact number without revealing Vinnie’s true identity. (The cover location is “Sailor Hardware”; the codephrase “Uncle Mike” indicates an emergency request for assistance).

As Vinnie rises within the organization, he (naturally) grows very close to Sonny, a man who has a lot of charm and some admirable qualities, despite being a criminal.  He’s not a cartoonish villain.  Eventually, Vinnie becomes Sonny’s right-hand, then a “made” man.  The internal conflicts of the protagonist and the murky gray area in which he operates make Wiseguy very compelling.

 

Related Links

http://www.imdb.com/title/tt0092484/

http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dmovies-tv&field-keywords=Wiseguy

Double Indemnity & Unfaithfully Yours

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Double Indemnity (1944)

It’s just like the first time I came here, isn’t it? We were talking about automobile insurance, only you were thinking about murder. And I was thinking about that anklet.

In this captivating film noir (directed by Billy Wilder) successful insurance salesman Walter Neff (Fred MacMurray) is a goner from the moment he sees Phyllis Dietrichson (Barbara Stanwyck) standing above her stairs wearing only a towel while on a house call.  They are very attracted to each other and carry on a strong flirtation.  But the clever and sultry housewife is thinking of taking out an insurance policy on her husband (without his knowledge) and murdering him.  Though Walter knows this is wrong, he quickly agrees to help Phyllis so that she’ll be free to marry him. 

While Phyllis betrays her husband, Walter betrays his boss and close friend, Barton Keyes (Edward G. Robinson in a rare good guy character role).  Stanwyck told Wilder that she was afraid to take on the role of an out-and-out killer, but was later very glad about her decision.  MacMurray, who thought he couldn’t handle the role, got the chance to show his acting chops.   He’s mostly known for lightweight, Disney roles.  As one IMDB commentator wrote: He is consumed by his passion and he will do anything because of what he perceives will be the reward for doing the crime. Walter Neff was perhaps Mr. MacMurray’s best creation. He is completely believable and vulnerable.

I highly recommend this film because it has an interesting premise, terrific dialogue, and the the two leads have great chemistry together.  The only thing I didn’t like about it- the platinum blonde wig worn by Stanwyck.   

Body Heat (1981) starring William Hurt and Kathleen Turner is a reworking of Double Indemnity set in the tropical heat of Florida.  Hurt plays Ned Racine, a small-time, slacker lawyer who quickly falls head over heels in lust with mysterious Matty Walker (Turner), a beautiful young woman married to an older man (played by Richard Crenna).  Ned agrees to help Matty kill her husband, thinking that she reciprocates his love.  But Matty’s only goal is to be rich.

   

Unfaithfully Yours (1948)

As with Stanwyck, you really can’t go wrong with Rex Harrison!  He was smart, funny, charming, and had a big screen presence.  This screwball black comedy film had me laughing out loud (during many scenes).  But it also has some dark elements and great classical music, too.  Harrison plays a famous British orchestra conductor/nobleman, Sir Alfred de Carter.  Linda Darnell plays his much-younger wife, Daphne.  They seem to have a very lovey-dovey relationship at the opening of the film. 

While he was away, Alfred asked his brother-in-law August to “look after” his wife (in case she was bored/lonely).  But the dimwitted August misunderstood and had a private detective follow Daphne.  Alfred flies off the handle when he hears this: I give you my solemn word, August: if I don’t regain control of myself in a few minutes, concert or no concert, I’ll take this candelabrum and beat that walnut you use for a head into a nutburger, I believe they’re called!

Othello (Folger Theater)

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Ahh, Othello, one of my favorite characters created by the Bard!  He’s right up there with Hamlet.  He’s the ultimate outsider-insider: an African (Moor; former Muslim who converted to Christianity) in world of whites (Venice, Italy) who commands respect for his military victories.  Then he marries a white girl (the noblewoman Desdemona) and all hell breaks loose.  Well, it’s not quite that simple…

He is a contradictory man- a great speaker who is also capable of great violence.  Othello is a military man who sees things in black and white (this has a double meaning), unlike Iago, who deals in shades of gray.  Being such, he sees killing Desdemona as an act of justice.  My favorite professor said that though he was a skilled warrior, Othello probably had very little experience with love.  He relies too much on Iago’s judgment, because he knows more about the ways of white women.

The current production at the Folger is pretty good, with creative and gorgeous sets, costumes, and music.   The action, including swordplay, was exciting.   For the isle of Cyprus, Middle Eastern clothes and belly dancing is probably not accurate though.  I went to a preview show last Sunday.  The matinee audience was mainly elderly and college-aged, aside for a few who were around my age.

There were a couple of scenes where I got lost in the drama- good to have!  Back in high school and college, I saw Othello (played by Owiso Odera) as more heroic/larger than life; this play cut him a bit down to size.  He wasn’t such a big presence; Iago (Ian Merrill Peakes, who was in Henry VIII last year) was the star and better actor.  Merril Peakes spoke the language with ease and conviction.  Othello, who’s slight accent seemed to drift in and out, spoke the lines, but was not quite there when it came to feeling the words. Othello’s first crucial scene (in front of the Duke of Venice and other important nobles) was not as strong as I’d have liked.  But he did have good chemistry with Iago in their one-on-one scenes.

Emilia (Karen Peakes; also wife of Ian Merrill Peakes) did a great job; her character has some great lines.  Emilia is cynical, experienced, and wise- a contrast to the naive Desdemona.  The actress who played Desdemona got better throughout the play, but was too much of a lightweight.  She was too bubbly in her depiction, which created a tone that I didn’t think was fitting for a very young woman who had recently been disowned by her father.  Rodrigo (Luis Butelli; also in Henry VIII) was the spurned suitor who followed Desdemona to Cyprus.  He provided the comic relief without being over the top.  Cassio was the naive, young lieutenant who fell from Othello’s favor because he couldn’t handle alcohol.

As pointed out above, this production emphasized religion and violence (Othello has these bursts, escalating as we go on).  Othello wore a noticeable gold cross around his neck.  In early scenes, the soldiers, including Cassio,  wore outfits like the Knights Templar- chain mail and white tunics with large red crosses.  (I don’t know if that is accurate, but think it’s possible.)  Also, characters often crossed themselves when they were fearful, worried, etc.