Archive for Hal Ashby

The Road Sign of the Cross

Posted in FILM with tags , , on March 10, 2020 by dcairns

I’ve watched HAROLD AND MAUDE so many times I am an actual item on the disc menu but never noticed until freeze-framing this shot below, in preparation to showing the next scene in a class, that they have special religious paint marks for parking spaces outside the church.

Fortunately I had an American student (hi Stella) who was able to confirm my suspicion that this is not an actual thing and that it’s just the filmmakers being whimsical. Pretty funny and pretty subtle if you’re not looking for it.

Yes.

Posted in FILM, MUSIC with tags , , , , , on March 21, 2017 by dcairns

New video essay written by me and edited by Stephen Horne. Part of our series for Criterion, Anatomy of a Gag (previous installments on Tati and Etaix).

This one is on Hal Ashby’s BEING THERE, new to the Collection. Hope you enjoy!

Buyer’s Remorse

Posted in FILM with tags , , , , , , , , , , , , on November 7, 2015 by dcairns

vlcsnap-2015-11-06-20h59m56s591

Finally caught up with THE HEARTBREAK KID after meaning to see it for years. Father Ted creators Graham Linehan & Arthur Matthews rate this one as a favourite, which marks it out as above the general run of Neil Simon movies, and it’s almost unique among NS films in that it has a recognized director, Elaine May. The one other auteur collaboration in Simon’s oeuvre is THE SLUGGER’S WIFE, a collaboration with Hal Ashby which ended with the director booted off the film after turning in a first cut which featured no dialogue for the first half hour. An approach better calculated to alienate the king of the one-liners could hardly be imagined.

vlcsnap-2015-11-06-21h00m03s008

May was a lot better at handling Simon, In his wonderful memoir It Would be So Nice If You Weren’t Here, Grodin talks about how Simon briefly wanted to fire him (after the first read-through) and constantly wanted to fire Jeannie Berlin, complaining that she wasn’t attractive enough. May graciously accepted Simon’s criticisms, soothed his feathers and carried on, never letting him know that Berlin was in fact her daughter.

May is so good at the comedy of conflicted response, and that area seems so alien to Simon’s work, that I find myself wondering to what extent she’s subverting the material — with the author in the room. From what he says in his book, Grodin was clearly aware that his character could easily be seen as “creepy and hateful” –and those qualities played a part in my reading of him, though maybe ultimately “pitiful” is a better word — this guy, who runs out on his wife on their honeymoon because he meets Cybill Shepherd, is never going to be happy, and he’s going to leave a trail of human devastation behind him. Grodin was slightly surprised at the number of men who told him they identified deeply — and uncritically — with the character, which suggests he and May succeeded in balancing the portrayal so that people with the same character flaws as Grodin would see him as entirely reasonable. I wonder if those guys found it funny? Fiona likened it to a comedy version of THE TALENTED MR RIPLEY.

Still, Simon did give it that title. He must’ve known what he was doing. He must.

vlcsnap-2015-11-06-20h59m37s262

Jeannie Berlin gets a lot of the best laughs, though it’s teamwork all the way. Fiona loved her inability to behave like a dream girl. A lot of her behaviour WOULD work with some men — getting her boobs out on the freeway, for instance, which Grodin reacts to with hilarious, infantile panic. An exactly similar moment occurs in May’s previous A NEW LEAF, in which Walter Matthau emits a plaintive “No, don’t let them out!” and runs away. Maybe the reason Isabelle Adjani’s boob flash in ISHTAR seems to upset so many people — really, so many of the bad reviews focus on this moment — is because Dustin Hoffman doesn’t deliver a clear and exaggerated comic reaction to justify it. It becomes sexposition.

Berlin’s last scene is HORRIFIC and DISTRESSING! And then she disappears from the picture and we’re supposed to root for Grodin on his quest to get the girl. While this last fifth — the traditional three act/four part structure doesn’t seem to apply here — has some good laughs but is governed by a gnawing uncertainty and tension (Where is this GOING?) — it’s as if the bigger dramatic problem was not “boy gets girl” but “boy gets rid of previous girl” and with Berlin out of the way a strange calm descends, as Grodin’s character impresses by his rather astonishing determination. Romantic comedy sociopath.