Author: Kevin Daly

"The 39 Steps"… and a Birthday Tribute

Before the Oscars last Sunday, I jetted down to the city to take in the matinee of The 39 Steps as part of my Roundabout subscription. I should preface anything I have to say with the following: I am an enormous fan of Alfred Hitchcock. In fact, it’s easier for me to list his films I haven’t seen: Topaz, Marnie, Under Capricorn, The Paradine Case, Spellbound and Jamaica Inn. Don’t worry – I plan on getting to them in the near future. There are many of his films I love and only a couple that I dislike (Torn Curtain is my least favorite; even though as is the case with any lesser Hitchcock, there’s always something to be appreciated). I have been obsessed with him ever since I first caught a glimpse of the shower scene when I was 7 and it scared the bejesus out of me – imagine my horror when I was told only a few minutes later it was time to shower and get ready for bed. I’ve devoured his films, read a lot about them and just enjoy them on many levels. (And a lot of them are surprisingly hilarious. Take for instance Mr. & Mrs. Smith with Carole Lombard in Hitch’s sole screwball comedy; he uses his trademark styles to heighten the comedy and with hilarious results). I can only assume that the more you know Hitchcock, the more you’ll enjoy The 39 Steps.

Anyway, the film is one of Hitchcock’s early classics, released in 1935. I won’t give away much of the plot, as it’s a film that should be seen to be fully appreciated. Robert Donat stars as Richard Hannay, who is an early prototype for Hitchcock’s trademark “wrong man” protagonist. Anyway, there’s a murder; he’s wrongly implicated and gets involved in an espionage plot as he and only he can try and stop the agents from fleeing the country with valuable information. All the while, he is being chased from London into Scotland by the police. Episodic and plot-driven, the film is a tour-de-force for Donat, who is supported by Madeleine Carroll (the first Hitchcock blonde…?) and the always perfect Peggy Ashcroft in a small but crucial role as a Scottish housewife. There are twists and turns and chases across the moors; great one-liners from Donat and one of the sexiest scenes to get by the censors when he and Carroll are handcuffed together (whether or not you see the play or film, you’ll know the one I mean).

“I long for something mindless and trivial. Something utterly pointless…I know! I’ll go to the theater!!”

So Mr. Hannay decides in his opening monologue. You already know that this fateful decision is going to incite a slew of mystery and intrigue. But who knew slapstick comedy was going to be a part of the equation? This stage adaptation opened in London last season, winning the Olivier for Best New Comedy. In an incredible feat of unending creativity, the film is recreated onstage. The catch? There are four actors: one playing Hannay (the spot-on Charles Edwards, who originated the part in London; the lone actress (Jennifer Ferrin) playing the three pivotal female roles and two actors (Arnie Burton and Cliff Saunders) playing EVERYONE ELSE, in a feat that is so audacious and clever, there aren’t enough superlatives to praise the actor’s hard work.

For a film that is as much a travelogue of Scotland as well as thriller, its staging is devilish fun. The proceedings keep things to a minimum with a lot of fun theatrical tricks and clever use of minimalist scenery (and props) to recreate large panoramic scenes (like the Moor chase) and even the uncanny and hilarious ability to recreate the many crowd scenes in the film (the moment where Hannay joins a parade to escape the police brought down the house). The show uses the wit of the screenplay to their best advantage, adding indelible low-comedy that will leave you breathless from excessive laughter. Watch Burton and Saunders as they portray about five characters having separate exchanges all at the same time. My favorite was their recreation of the famed hotel scene where the spies encounter the proprietor and wife. Nothing short of genius on their part.

There are also musical and textual references to other Hitchcock films, many of the music cues getting huge applause and a lot of strangely enjoyable groan-inducing puns (the music hall and vaudeville tradition put to use was welcomed wholeheartedly by the audience). The play flies by; each act is 45 minutes and is a decidedly engaging mix of absurdist parody and low-brow comedy. (Think of say, Airplane! as opposed to Spy Hard). My only qualm to the powers that be – it would be even better if the show ran without an intermission. You don’t have to have seen the film to enjoy the play, but what the hell, it enhances one’s appreciation for Mr. Hitchcock and I still find it quite good 73 years removed. It’s worth of the price of admission alone to see the two supporting actors do their thing; I’m still reeling from their performances.

Oh, and for the curious, Mr. Hitchcock has a cameo. I won’t tell you where or how, but it too stopped the show.

Before I sign off for the night, just wanted to wish the ever-youthful and ever-beautiful Bernadette Peters a happy 60th birthday. That is not a misprint. The beloved diva is reaching her milestone birthday looking nowhere near her age. Hopefully you all put on your favorite BP album (what did you listen to, I’m curious? I listened to Sunday in the Park With George) and take a glass to celebrate. This raises an important question: when is Bernadette coming back to Broadway and in what star vehicle? (Whatever the answer, it’s not soon enough).

Some thoughts on the Oscars

The 80th annual Academy Awards went on. After being threatened for weeks by the strike, it was resolved and all ended well and the awards happened and here are some thoughts so I can end this ridiculous run on sentence before I completely lose my mind.

– Jon Stewart was, I thought, an amusing host. Much more comfortable and relaxed than the last time – and much funnier. Apparently not everyone agrees with me. Oh well. Did miss the best bit from his last time: the political smear ads among the acting nominees (“Judi Dench took my eye out in a bar fight.” Anyone?) which would have been ever so appropriate this year of all years. The lines about the strike (the Vanity Fair line is brilliant) and the upcoming election were spot on. For the record: My favorite line of his, one that reduced us to pure hysteria: “Normally when you see a black man or a woman president, an asteroid is about to hit the Statue of Liberty.”

– Tilda Swinton provided an amusing upset over my beloved Cate Blanchett (who can really do no wrong and whom I adore). However, this was an incredibly strong category, and one that was pretty much impossible to peg, so I have bear no ill-will. Swinton’s stellar restrained work in Michael Clayton is a master class in finding nuance and character in what otherwise would have been a complete caricature of a shrewy harridan. Her speech is one of the most offbeat and amusing I have ever heard in my life. (If you thought her Hefty-bag themed dress was atrocious, Youtube her recent BAFTA win to see the garish insect costume she wore to that event…) Horrid styles aside, she seems like quite the amusing personality.

– Javier Bardem was incredibly classy – and also completely terrifying and fascinating in No Country. He’s also going to be Guido Contini in the upcoming film adaptation of Nine; with Marion Cotillard as Luisa.

– The Coen brothers win for Best Adapted Screenplay for No Country for Old Men. I immediately get a phone call telling me I am on TV (in the personage of Ethan Coen). For the record, my brother Patrick is more of a dead ringer than I. But I’ll take it (and the Oscar too, thank you).

– Marion Cotillard wins for Best Actress over my beloved Julie Christie. Not quite the upset that some would make it out to be. But I have never seen an actor more relieved not to win than Christie. As the announcement comes closer you can see her getting insular and practically shrinking. They announce Cotillard and there is this moment where she kind of feels like a weight has been lifted and then goes completely nuts applauding Marion’s win. Have I mentioned, I adore Julie Christie in practically every way? Possibly the most fascinating and coolest movie star that ever lived. Cate Blanchett, nominated for being awesome in a crapfest, looks like she was about to jump out of her seat to give her a hug, she was so ecstatic. Gotta love those British actors; not only do they deliver the goods, they certainly keep it real. It’s the first time a French performance has been awarded an acting Oscar; and the first foreign language victory in this category since Sophia Loren made Two Women in 1961. My other question: why did they present this one so early? They would have done better to get predictable Best Actor out of the way and let us have some surprise toward the end.

– Note how each song from Enchanted fell flat. Amy Adams showed up, but apparently the set and a concept didn’t. It felt like watching a stellar actress at work in an acting studio. Kristin Chenoweth phoned in on hers and I wish they got someone who could sing for the third song. Really pitiful presentation on all parts.

– “Falling Slowly” was beautifully performed by Glen Hansard and Marketa Irglova. Once may be my favorite film of 2007 and quite possibly a contender for my all-time favorite list. “Falling Slowly” is a lovely song and very affecting, but it’s even more emotionally stirring when seen in context. I was so thrilled when they won, possibly my favorite category of the evening. Then to top it off the Oscars took an unprecedented step and allowed Marketa, who was cut off just as she was about to open her mouth, to come out and have her say. (Classy move, Oscar, classy move). Two beautiful and humble speeches by two of my new favorite people. See Once. Stewart had one of the best quips of the night with “Wow, that guy is so arrogant!” following Glen’s half of the acceptance.

– Did no one tell Katherine Heigl you should never apologize for being nervous before you do anything in show business, ever? She was a total wreck, and we were all the more obvious because she blatantly pointed it out first. Doubt we’ll be seeing her try live theatre any time soon…. and we’re probably the better for it.

– I could listen to Daniel Day-Lewis speak all day. He is one of the most articulate actors I have ever heard in my life. He also has one of the most staggeringly extensive vocabularies of anyone I’ve heard speak in my life. His performance in There Will Be Blood is one of the most mesmerizing star turns I’ve seen in a film in years. Though I hear he’s fearfully method, I wish he would act more. I guess a return to the stage is out of order. But I was amused to read he cobbles in his free time.

– I’ve realized with time that I really hated Atonement. The more I think about it the more I dislike it. Though, the score was admittedly creative, with all that unique type-writer in the orchestration. Glad it didn’t win anything else (even costumes). One stand-out green dress doesn’t mean the entire thing should be awarded; I was rooting for Sweeney Todd or La Vie en Rose. I was surprised that they awarded it to Elizabeth: The Golden Age especially since no one seemed to like it.

– Enjoyed Steve Carell and Anne Hathaway presenting. In fact seeing the two of them play off each other so well makes me just a little more excited for the upcoming Get Smart (damn you marketing experts!) I thought the Adapted Screenplay exchange between Josh Brolin and James McAvoy was highly amusing.

– Anyone notice that Charles Lane and Brad Renfro were absent from the “In Memorium.” Lane was a reliable character actor; normally called on to play a heavy of sorts, almost always a walk-on or minor supporting bit, yet always memorable. Born in 1902, he made his film debut in an uncredited role in 1931. He worked for decades, dying last year at the age of 102. Many of his film appearances include the Best Picture winner of 1938 You Can’t Take it With You (as the frustrated IRS man), Mr. Smith Goes to Washington, Ball of Fire, It’s a Wonderful Life, State of the Union, The Music Man, and many others. A friend of Lucille Ball, he appeared in guest spots on her three hit sitcoms, and is probably best known on TV as the scheming Homer Bedloe on Petticoat Junction. He was also a founding member of the television academy, the Screen Actor’s Guild and when awarded by TV Land on his hundredth birthday, he announced to the crowd “I’m still available.” His last credit was narration for the 2006 short The Night Before Christmas. I think a 75 year career as a reliable and recognizable actor is worthy of a few seconds of time. (Yet they had time for agents? Did any of us know who they were? Or, all due respect, care?). In the case of Mr. Renfro, he was a more recognizable actor and his story was much sadder and more short-lived. People are actually quite up in arms over his omission. The Academy’s excuse that “they didn’t have time for everyone” is rather weak.

– Helen Mirren has a body that most of the twenty-something actresses at the Oscars would kill for. She is 62 1/2 years old – and possibly the sexiest senior citizen on the planet.

– Why was Marion Cotillard (who is quite gorgeous) dressed like a rejected chorine from The Little Mermaid?

– Was I the only who missed the living winners tableau they do every five years on a major anniversary? (For the 75th, they had Olivia de Havilland introduce the brief yearbook moment to a stirring standing ovation. I miss some of that old school glamour in these awards).

Anything I missed…?

Dennis Letts

At the opening night of August: Osage County, I had the privilege of seeing many Chicago-based actors making their Broadway debuts. One of these actors was Dennis Letts, who played the brief but pivotal role of Beverly Weston in the play’s prologue. Letts, the father of the play’s author Tracy Letts, succumbed to lung cancer yesterday, February 24, at the age of 73. He had been diagnosed in August of 2007 after the Steppenwolf run of August had ended, but in spite of his ill health and poor prognosis he insisted on continuing with the show. Incredibly reminiscent of Kathleen Freeman, who was dying of cancer during her run in The Full Monty (and left the show only a week before her death in August 2001), Mr. Letts continued to work for as long as he could without giving any indication of being in such poor health (he left the show in late January). Letts is survived by his wife, author Billie Letts and his sons, as well as a considerable body of work as a character actor in film and television.

Atticus


Figured it was time to introduce you folks to my current pride and joy (till I actually father a child; depending on my luck could be sooner rather than later. No not that kind of luck. Bad luck. Whatever. Moving on. I digress…), Atticus. I was just organizing old photographs and he’s just so damned cute that I figured why not? Now, what you gotta understand is that I wasn’t particularly a cat person. I enjoyed them, but they were too temperamental for my taste. Anyway, my housemate in college brought one home and we had a little tabby running around the house. About a month later, he had to take him to the vet and I was enlisted to come along to help him, since he had yet to acquire a cat carrier. With about an hour or so to kill, I realized that they had two kittens up for adoption; brother and sister. I asked if I could see them, figured at least it would be a time killer. The vet tech told me they had already had a taker for the grey female but the orange male was still around. I said okay or whatever. Anyway, the minute they walked through the room with him, I said “I’ll take him.” Yep, just like that – I was surprised as everyone else. I highly recommend if you’re looking for a pet that you rescue. The animals are incredibly grateful for the care; and let me tell you, orange male cats are the best. Not only is he a beautiful cat, he’s ridiculously devoted to me, likes to play fetch and occasionally thinks I’m also a cat. Atticus (yep… To Kill a Mockingbird) is going to be three on April 5 and is as energetic and playful as ever.

RAD-LIB! Write your own Oscar Speech

Radar Online had this delightful little bagatelle to deflect me from more important responsibilities. Enjoy.

http://www.radaronline.com/features/2008/02/ralibs_oscar_speeches.php

Here is mine:

Wow. Oh boy. I wasn’t going to prepare a speech, but my Myrna told me I’d jinx myself if I didn’t. So, thanks, Bo-Peep! [Pause. Inhale deeply. Nod to Jack Nicholson.] I’d like to thank the Academy. I’d like to thank the stellar, visionary and legendary actors I was nominated with. Just to be included in a group with you all is an honor. I’d like to thank my manager, Maury, my agent, Ari, my stylist, and all the immensely talented people at New Line, Harvey Weinstein, Jesus, and Bob Hartley.

I’d also like to thank my parents, who supported me through cough drop addiction. And Martin Landau, my one … true … love [gaze into audience]. Last, but certainly not least, we all just lost Mel Brooks, a truly idiotic visionary and stupendous soul. [Begin tearing.] I’d like us to take a moment to … No! Gee Willickers, Batman!! Don’t start playing that music, I have 85 more people to go! My editor Thelma Schoonmaker, my accountant Irving Kaplan, my lawyer Arthur Anders, and my personal assistant Mozambique, Josh at Marble Faun Pictures. Brad Grey. When we started this project, Terror on the golf course was something no one wanted to talk about. Victims of frog attacks, this is for you! Thank … [Music swells]

The Best Picture Oscar

I have now seen all five nominated films in this category; and have tried my best to catch up with the general releases of 2007, as it was not a big year for moviegoing and I do not know why. In fact I think I haven’t seen so few movies in a year since 2001. Anyway, I’m going to run down the five movies and whether or not I find them up to snuff. I apologize for any minor spoilers (I wouldn’t give away the endings, you philistines!) that might pop up.

Atonement: A solid period piece with all the trimmings. Detailed art direction, stellar costume design (everyone seems to flipping for that green dress). Potent performances of a potentially explosive script. However, for all its merit, I couldn’t help but feel that the story of the film on whole was hollow. For someone as beloved in a household as Robbie Turner was to his employers, it seems unthinkable that they would immediate take Briony’s word for fact, when she was known for dramatics, overimagination and generally obnoxious histrionics. The investigation into the entire rape scenario seems rushed – and um, why do the rapist and victim marry each other? Anyway, they’re inconsequential to the film after the first forty minutes. In fact the ending felt empty and for that I was depressed. Aside from a brilliant cameo turn by Vanessa Redgrave as an aged Briony, the end didn’t satisfy. It was quite a film to absorb, but there wasn’t that much to absorb from it. Though I did learn a few lessons. Number 1: Make sure you put the right letter in your envelope. 2. Never give envelope with wrong letter to precocious, assuming and thoroughly unlikable 13 year old. 3. Don’t rape a teenager when you’re a guest in the family home. 4. Don’t put the wrong letter in the envelope. Oh wait, I covered that? Oops. Anyway, see it if you like, but Howards End or The Remains of the Day this is not. Oscar should have paid James McAvoy‘s stellar performance notice, but not Atonement as a whole.

Juno: This year’s popular quirky little off-beat indie comedy that could. Say, a follow-up of sorts for the fans of Little Miss Sunshine. It’s hard not to like the film. For all its quirks (and is there a plethora; perhaps screenwriter Diablo Cody should collaborate with Wes Andersen and blow our minds), the film is actually quite sweet and occasionally quite funny. The film rests on the shoulders of Ellen Page, as the title character, who at 16 finds herself pregnant and goes about her situation in the most pragmatic and mature manner possible. Dry and sardonic, but not unfeeling, Juno is the kind of character you wish would show up more often. The straight man to all the lunacy around her, especially as she becomes involved in the lives of the couple who wish to adopt from her. What’s fascinating is that with the breadth of characters and setting (not to mention the chemistry) it felt like the pilot for a truly brilliant sitcom, akin to Freaks and Geeks or Arrested Development (Michael Cera and Jason Bateman probably brought out a lot of fans of the latter). One of the overlooked performances, for my money, is J.K. Simmons as Juno’s father, who is heartwarming and hilarious – sort of the Alan Arkin (minus the crass and drugs) of this movie. Allison Janney is a riot as her stepmother; Jennifer Garner effective as the would-be adoptive mother. And Cera is brings his usual awkward as the father of the child.

Michael Clayton: Truth be told, I didn’t think I was going to like this film. Legal person gets caught up in whistleblowing scandal; Life is on the line. The whole rigmarole. Well, do I love to be surprised. Think of it as Erin Brockovich meets Jason Bourne and this movie is the love child of their respective movies. Okay, so that’s somewhat complicated and weird, but you can figure out what I mean. It’s mostly an action thriller that features smarter-than-usual writing and a strong performance from George Clooney. However, he is eclipsed by the brilliant Tom Wilkinson as the top tier attorney who threatens a $3 billion lawsuit when he goes off his meds and the efficient chill of Tilda Swinton‘s smile as corporate legal counsel who will stop at nothing to protect the interests of her corporation that is under fire. Well directed and well paced, it makes for an entertaining couple of hours. However, if we’re going to accept smart popcorn movies into the race for the Academy awards (the Academy’s undying love of George Clooney not withstanding), why not some more serious attention to the incredibly well-loved and well-reviewed Bourne Ultimatum or even the lost gem of last winter, Zodiac, which has a small but rabid fanbase?

No Country for Old Men: The Coen brothers’ adaptation of Cormac McCarthy‘s sparse novel is one of the most bad-ass movies I have seen in a long time. There are three main characters in the story, each interrelated, though none share any screen time. What you have is a dark moral tale of chance and fate; and how the choices either good or bad can impact a person’s life. Strong script, stronger direction and the performances of the three major characters make this an unforgettable film experience. Tommy Lee Jones is the solemn sheriff trying in vain to maintain order in his generally peaceful Texas town all the while coming to the realization that he is powerless to the forces of change and time. Josh Brolin is the blue-collar Llewellyn who stumbles across the remnants of a drug deal gone horribly wrong. Then we come to the quiet ferocity that is Javier Bardem who is giving a performance that is already legendary. You’ll think twice before you call a coin toss, let me tell you… This has been a front-runner for many awards, in spite of the controversy many have felt regarding the ending (which actually folks is subtle genius – if you’ve been left feeling uneasy, it’s worked). The only loss I mourn in translation from novel to screenplay is the further dimensions we are given regarding the Sheriff and his past.

There Will Be Blood: The most epic of this year’s nominated films captures one of the most spellbinding performances I’ve seen in a movie in quite some time. Daniel Day Lewis is Daniel Plainview, an oil man who finds himself at odds with a cryptic faith healer (Paul Dano). Big, bold, operatic and crafted with considerable beauty by writer-director Paul Thomas Anderson (whose Boogie Nights is required viewing) the film is loosely based on the novel Oil! by Upton Sinclair. It tells of a man’s quest for power in the oil industry and the price he pays for it; in certain terms it’s a rather complex character study with images and ambitions that never cease to amaze for the entire 158 minute time. The scenes between Lewis and Dano are among the most volatile; every time they appear onscreen together Lewis gives his usual all and Dano rises to the occasion, making their scenes tense, nerve-wracking and occasionally hilarious. Every time Daniel Day Lewis makes a movie, it becomes an event of sorts and he regularly delivers the goods. I’ve been a huge fan of Sweeney Todd and have been pushing for Johnny Depp to win, but about halfway into this film, I told my friend “I concede, The Oscar is Daniel’s.” Oh and before I forget, the film’s also got a rather fascinating musical score and has sumptuous cinematography.

I’ve been able to narrow it down to No Country and Blood as the two most deserving of the nominees. My personal preference would give it to Blood; but I’ll be damn fine when it goes to No Country.

Kelli O’Hara loses her golden locks for "South Pacific"

I normally don’t recommend ever going to Broadway.com because of the terrible photos that they take (not to mention the worst captions ever), their tacky man on the street critiques in lieu of, well, actual criticism and most unforgivable, the lack of Ken Mandelbaum whose column was a mainstay and, toward the end, the only reason to venture onto the site. Horrible. However they had a video crew follow Kelli to the salon for her necessary haircut for the upcoming revival of South Pacific.

http://www.broadway.com/Gen/Buzz_Video.aspx?ci=560973

Even with short hair, she’s no less than absolutely glamorous.

Sunday is officially here and Gypsy is coming next week. But I’m equally excited for this first-ever Broadway revival of a classic Rodgers and Hammerstein. And since its being done by LCT at the Beaumont (with much of the Piazza team in place) we’re sure to have a glorious evening of beautiful scenography and performance. This is definitely a year for musical revivals, not originals.

Raves for Sunday in the Park

The revival of Sunday in the Park With George officially opened last night to superlative rave reviews from the critics; a far cry from the divisive reactions the original production received in 1984. This time around it seemed as though the critical consensus was more accepting of the second act (which was the problem for many the first time around) and that this particular production allows the show to have heart. Kudos are being given to stars Daniel Evans and Jenna Russell, imperative supporting player Mary Beth Peil, director Sam Buntrock and the scenography by David Farley, Ken Billington and Tim Bird. All names that will be remembered come Tony nomination time.

Ben Brantley ended his review with the following paragraph, which may be the most incredible thing he’s ever written:

“That the second act ends as the first does, in a ravishing epiphany of artistic harmony, now feels more than ever like a loving benediction, bestowed by the show’s creators on its audiences. Every member of those audiences, whether consciously or not, is struggling for such harmony in dealing with the mess of daily reality. How generous of this production — and it is the generosity of all great art — that it allows you, for a breathless few moments, to achieve that exquisite, elusive balance.”

Yes folks, that about sums up the breathtaking experience this revival provides.