Archive for Somebody Up There Likes Me

Rocky start

Posted in FILM, Sport with tags , , , , , , , , , , on January 26, 2018 by dcairns

SOMEBODY UP THERE LIKES ME is perhaps a better David Bowie song than it is a Robert Wise film, but it’s an interesting Robert Wise film. It’s hampered by being an unsuitable vehicle for Paul Newman, who seems to be trying awfully hard, which is of course a problem. I can believe him as a boxer. I can’t believe him as an Italianamerican (ironically, or crazily, Pier Angeli, a real Italian, plays Jewish while the half-Jewish Newman plays Italianamerican). And I can’t believe him as a mook.

Everett Sloane provides a bit of ethnic authenticity with screenwriter Ernest Lehman giving him the best lines. Sloane must be on or about his last nose reduction by now, but still looks like a guy with a big schnozz. Even though most of it’s been shaved off, you can still see it. The phantom nose.

Wise has a strategy for getting us immersed in the film before this becomes a problem, which is to hit ramming speed as soon as the main titles are over and maintain that for most of the first act. To the sheer speed is added tremendous force and, if you’ll excuse the expression, punchiness. Despite his low-budget beginnings, Wise developed a gift for making settings epic, and the New York scenes here have the same kind of breadth and dynamism he brought to WEST SIDE STORY and even THE SOUND OF MUSIC (it’s big and bloated but it MOVES). Wise, like fellow editor Mark Robson, did a lot of these overblown epics of the fifties and sixties but he was often able to put them on ball bearings and get some momentum going.

I thought it was funny that Sal Mineo stays a teenager as years go by. “Why isn’t he growing up?”

“I think he’s pretty well cooked,” said Fiona. “He’s not getting any bigger.”

I never quite got over Newman’s wrongness. Is it because I’ve seen him in too many WASP-y and articulate roles to buy this? I don’t think so. He can do the body language, in a slightly over-the-top way, and he can sort of make the sounds, but the rhythms seems way off throughout.

Cinematographer Joseph Ruttenberg earned his Oscar — you can see little stabs at the kind of furious expressivity RAGING BULL would introduce to the ring — this feels like the one Scorsese and Michael Chapman and Thelma Schoonmaker drew most from. But I still have to see THE SET-UP, shamefully enough.