Archive for The Fortune

The Road to Ruin

Posted in FILM with tags , , , , , , , , , , , , , , , , , on October 23, 2015 by dcairns

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The only disappointing thing about Elaine May’s directing career is that you can watch it all in a couple of days without risking fatigue. If she had been working in the forties we might have gotten thirty films from her. Well, actually there is another disappointing thing — ISHTAR. Sad to report that I have to largely agree with the majority on this one. But I was intrigued rather than annoyed by the palpable sense of “This Isn’t Working” which the movie exudes.

“Why should she carry the can if her stars didn’t have the comic chops to pull off the movie?” asked a friend. Well, she cast them, of course. There’s that. Both actors had been funny in other things — though Beatty had also made THE FORTUNE with May’s ex, Mike Nichols, a movie that looks like a rehearsal for this one. Rumour has it that Nichols cut the best comedy from the script in a drive to make the film cheaply, whereas May was taken to task for spending a lot of money on a film that ended up not looking particularly expensive. (Also, Nichols immediately made another picture. May hasn’t directed since.)

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It looks pretty at times (so does THE FORTUNE). Vittorio Storaro shot it, and that may have contributed to the cost but it doesn’t contribute to the comedy. Too many comedies are dull-looking. There’s no reason a comedy can’t be beautiful. But there are also forms of beauty which distract from, rather than enhancing, comedic moments. ISHTAR is the story of two untalented songwriters, and it relies on frequent cutaways of aghast audience members, as in THE PRODUCERS. The first of these is decorated with a tinted light, and the green cast on the faces is so striking that it kills the laugh — a key moment in the film.

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The songwriter schtick reminded me of KISS ME, STUPID, where Ray Walston and Cliff Osmond play a struggling composer and lyricist. In that one, the songs are trunk items by George & Ira Gershwin, which is a nice joke in itself, but not one you can actually laugh at while watching the film. Most of the songs in ISHTAR are by May and Paul Williams. Only the one written by Hoffman’s character for a wedding anniversary, which dwells ghoulishly on the impending deaths of its subjects, has a strong central joke — the rest depend on moments of clumsiness or a general sense of not being good. Some of the performers’ moves are funny. But somehow the spectacle of these two movie stars playing deluded idiots isn’t pleasing.

This film may have made Beatty paranoid — he played lots of schmucks in the seventies, from MCCABE AND MRS MILLER to THE PARALLAX VIEW. After ISHTAR, he was offered GET SHORTY, but Barry Sonnenfeld reports a strange meeting where Beatty obsessed over why his character, being as handsome as he was, would still be a lowly mob enforcer instead of the godfather figure. In discussions on MISERY, Beatty opined that if his character were to lose a foot, as in Stephen King’s novel, he would be, in the audience’s eyes, a loser. He talked himself out of two succesful movies (but Travolta and Caan are better casting).

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I caught a bit of SPIES LIKE US on TV a while ago. Both it and ISHTAR seem to harken back to the Hope-Crosby ROAD pictures — Landis’ film even includes a cameo for Bob Hope, mysteriously playing golf in the middle of the Afghan desert. Neither film has enough actual funny moments. But Landis’ film has comedians in the lead roles and has a jaunty, jocular tone. ISHTAR creates discomfort rather than security, which was always a feature of May’s humour. It seems churlish to get upset that her film is cruel, mocking, tonally awry — these are qualities that enliven her films when they’re at their best.

SPIES LIKE US also looks expensive — the bang/buck ratio seems under control. In ISHTAR, Dave Grusin’s score is often terrific, but seems to by trying to hype up an excitement that the visuals don’t back up. A rooftop chase is both slow and uneventful, and the roofs are only one story up. The climax is a shoot out with two helicopters which would barely keep Rambo occupied for a moment in act two. In the eighties, comedies were parodying dramas by overinflating the action and underplaying the reactions, which is why Bill Murray saves GHOSTBUSTERS from being essentially witless. In ISHTAR, two sweaty dramatic actors strain at laughs that seem like mirages, while a tiny straight-to-video action film tinkles away in the middle-eastern middle distance.

(But ALL May film are sweaty. It’s a kind of trademark.)

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The film, apart from seeming to find Arabic funny in itself, makes dictators and the CIA into the bad guys, and so is defensible in its politics. A fairly accurate portrait of Reagan foreign policy (the same can be said of SPIES LIKE US). Charles Grodin is a good choice as the CIA operative, Jack Weston is good casting as the duo’s agent (first glimpsed in his office with his gloves on, so we KNOW) — and if these two aren’t finding laughs in the situation, the whole situation is wrong.

In defiance of conventional wisdom, I did find the blind camel quite funny. And Beatty and Hoffman trying to come up with songs while dying of thirst in the desert was good — a fairly perfect illustration of the principle of inflexibility that makes comedy characters what they are. Actually, all the best stuff is two guys in the desert, failing to cope. Less Hope/Crosby, more Vladimir/Estragon. And the vultures are hilarious too – groucho-walking through shot while the expensive stars huddle in parched consultation. A metaphor for the film’s reception.

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Warren Beatty’s Quest For A Comedy Partner Begins

Posted in FILM with tags , , , , , , , , , , , , , , , on May 9, 2014 by dcairns

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It’s a quest which would culminate in ISHTAR, which I still haven’t seen. I expect to maybe like ISHTAR.

But I did not care for THE FORTUNE, directed by the other half of the Nichols-May team, Mike Nichols, which pairs Beatty with Jack Nicholson. This thirties farce feels like an attempt to do a PAPER MOON, and Beatty’s comic stuffiness seems very Ryan O’Neal. Nicholson is dipping his toe in the waters of overacting for the first time. As is Stockard Channing, and the results are loud, shrill, and protracted. I’m sure there are people for whom the movie is hilarious, but they seem to be in a minority. We spent our time wondering what caused these people to choose to do this film. It’s hard to imagine it being funnier on paper, and in fact the pleasure we got was entirely from John Alonzo’s cinematography and Dick and Anthea Sylbert’s design, both of which recall CHINATOWN. Which is a somewhat better movie.

Screenwriter Carole Eastman was a friend of Jack Nicholson and wrote FIVE EASY PIECES, so I guess that explains him. And I imagine he would have Nichols and Beatty’s phone numbers on his rolodex. And so, a disaster is born. But a handsome one. We particularly enjoyed Warren’s 3D necktie.

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Turning to Biskind for the gossip, as usual, we find a story that Beatty used THE FORTUNE, regarded as a safe investment by its studio, to get the more tricky SHAMPOO made — with ironic results when the former flopped and the latter was a breakout hit. (I don’t really like either, but should give SHAMPOO another chance.) He claims Beatty bought the script for some vast sum, which Beatty denies… and he mentions Nicholson’s friendship with Eastman but doesn’t suggest that may have been a deciding factor in getting the thing made. He also says the script was too long and had no third act (all too apparent in the finished movie) — Nichols, concerned about his budget overages on CATCH 22 and DAY OF THE DOLPHIN took a machete to it and “cut out all the funny stuff” according to Polly Platt, at one point scheduled to design the movie. Doesn’t sound like something the talented Nichols would do, but the movie certainly has very little funny stuff, so if it was present to begin with, somebody must have cut it.

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This shot may explain where Beatty got the idea that he should play DICK TRACY.

Maybe if the film had been made in some other era, the theme of two men plotting to murder an innocent heiress for her money might have been acceptable, if unsympathetic — in the forties or fifties we’d know everything would turn out OK. In the seventies, all bets are off, which is part of what makes that decade’s cinema so exciting, but it means we can’t trust the filmmakers to end this film in a non-misogynistic, socially acceptable way. I mean, we’ve seen MASH and THE GETAWAY and STRAW DOGS and HIGH PLAINS DRIFTER at this point so anything is possible. The ending isn’t horrible like that, but it’s certainly peculiar, unresolved and kind of disturbing: a big shrug to rank alongside another seventies take on Old Hollywood, Elia Kazan a,nd Harold Pinter’s adaptation of Fitzgerald’s THE LAST TYCOON, which solves the source novel’s unfinished structure by just… stopping in mid-air.

vlcsnap-2014-05-01-00h46m06s136“There’s a man on the wing of this plane!”