Oscar Friday: “I’m Ready for My Close-Up”

by David on October 14, 2011

Part of what separates movie stars from the rest of us—aside from their paychecks—is that they have great faces. Not necessarily beautiful faces (although often they have that too), but faces that are able to convey a tremendous amount of emotional information in a short amount of screen time. What might take a novelist a paragraph or two of description to communicate, a great face can communicate in half the time, and sometimes with double the impact.

This is especially true when a movie ends with a close-up on an actor’s face. It’s rarely done these days (most movies tend to end with a wide/master shot or a sweeping aerial), and when it is done, it can run the risk of coming across as cheesy or melodramatic. But when it’s done successfully, ending a movie with a close-up on an actor’s face can be quite effective… and incredibly moving.

Here are three movies that I think succeed in pulling this off:

1) Sunset Boulevard (1950). It’s hard to believe Gloria Swanson (pictured above) lost the 1950 Oscar for Best Actress to Judy Holiday, since few actresses before or since have created a character as memorable as Norma Desmond. As the aging silent film star who falls in love with a washed-up screenwriter (William Holden), Swanson gave the performance of her career, and uttered one of film history’s most famous lines: “OK, Mr. Demille, I’m ready for my close-up.” Billy Wilder’s classic is still one of the darkest satires about Hollywood ever made, and the film’s final shot, with a deranged Norma Desmond moving closer and closer into frame, captures the madness of a Hollywood star who’s lost all touch with reality.

2) Nights of Cabiria (1958). Italian filmmaker Federico Fellini specialized in creating spectacle. But he also knew how to use the power of an actor’s face for emotional impact, as witnessed in Nights of Cabiria, for which he won his second Oscar for Best Foreign Language Film (he would win 4 times in total, the most times any director has won in this category). The story revolves around Cabiria (played by Fellini’s wife, Giulietta Masina), a sweet-natured, resourceful prostitute doing her best to survive in a cruel, male-dominated world. The film follows Cabiria on her various adventures, which take a dark turn toward the end, culminating with the once-resilient Cabiria nearly losing her will to go on living. The last shot of the movie, however, might be one of the most moving testaments to the strength of the human spirit recorded on film (it might also be my favorite ending of a movie). And after seeing this shot, one also understands why Fellini–who often compared life to a circus–loved Masina’s face, since it perfectly captures the tragic optimism of a clown.

3) About Schmidt (2002) Jack Nicholson received his 8th nomination for Best Actor for his portrayal of a retired, recently windowed insurance salesman going through a mid-life crisis. Warren Schmidt’s life is a series of quiet disasters and disappointments, all of which he relates in a series of letters to Ndugu, a Tanzanian boy he’s decided to sponsor as part of a foster program for African children. At the end of the film, after enduring one humiliating existential defeat after another, Schmidt is about ready to consider his life a failure… when suddenly he receives his first letter from Ndugu. I won’t spoil it for you, but IMHO, the last shot could be one of Nicholson’s finest acting moments (and that’s saying a lot!).

So those are my picks. Are there any other movies you’d add to this list?

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Herman Cain: 999… or 666?

by David on October 13, 2011

Herman Cain’s been getting quite a bit of attention this week, in large part because of his impressive performance during this week’s GOP presidential debate, where he repeatedly touted his “999″ plan to overhaul the tax code. And it appears to be resonating with GOP voters. In an NBC/Wall Street Journal poll released on Wednesday, Cain is leading the GOP field nationally, with 27% to former Governor Mitt Romney’s 23%.

I’m not a trained economist, though I think the Washington Post’s Fact Checker did a thorough job of sorting out the fact from the fiction (and in some instances the downright delusion) in Cain’s plan. (If elected President, does Cain actually think he can overhaul the tax code 3 times?)

Just the same, the surge in Cain’s popularity of late is a fascinating turn of events. In 2008, it was Obama vs. McCain. Could 2012 be Obama vs. Cain? Could we actually see two African-Americans at the top of the ticket vying for the presidency?

Or is Cain simply just the new GOP flavor of the week? (In this case, white dark chocolate.)

One thing’s for sure: if it does comes down to an Obama vs. Cain face-off, it will be proof positive for racist fundamentalist Christians across the nation that the apocalypse is definitely near.

Of course, secular progressives might see the match-up a bit differently. As comic W. Kamau Bell wryly tweeted: “If the Presidential election was Obama vs. Cain, would that be black on black crime at the highest level?”

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Hazel’s Back…and Still Mad as Hell!

by News In Color on October 11, 2011

Hazel shares her thoughts about Bank of America’s recent fee increases; Sarah Palin’s decision not to run for President; the n-word controversy on The View; and the untimely passing of Steve Jobs.

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Oscar Friday: To Kill a Mockingbird

by David on October 7, 2011

Rarely is a book and its film adaptation loved in equal measure. But such is the case with To Kill a Mockingbird.

The book continues to remain a perennial favorite amongst school teachers, librarians, and avid readers young and old, while the film remains one of the most beloved cinematic classics of all time.

I recommend experiencing both, at least once. Preferably more.

The book was written by Harper Lee, and is a semi-autobiographical novel about growing up in the Depression-era South (the character of Scout is Lee’s surrogate, while the character of Scout’s cousin Dill is based on Truman Capote, who was a close friend of Lee’s.) It won the Pulitzer Prize in 1960, no doubt to Capote’s chagrin.

The film came out in 1962. It was shot entirely on the Universal backlot (in California, not Alabama, where the story takes place).

From the moment he first read the book, actor Gregory Peck knew he was born to play Atticus Finch, the widowed father and courageous attorney who defends a black man accused of rape. Before he’d been cast, Peck had initially tried to buy the film rights himself. Once Peck secured the role, he didn’t disappoint, and his performance earned him an Academy Award–and a permanent place in film history. In 2003, The American Film Institute voted Atticus Finch the Number 1 Movie Hero of All Time.

Attention should also be paid to director Robert Mulligan and screenwriter Horton Foote, whose efforts succeeded in capturing the tone of Lee’s novel with tremendous subtlety, while creating a film that stands completely on its own; to Brock Peters for his performance as Tom Robinson; and to Robert Duvall, for his performance as “Boo” Radley. Foote also won an Oscar for his work on the film. (Twenty-one years later, Foote and Duvall would work together again on the 1983 film Tender Mercies. For that film, Foote would win his second Oscar, Duvall would win his first.)

Why do people adore this story (the book and the film) so much? Perhaps because of its themes of childhood and lost innocence. Perhaps because it effectively dramatizes the harrowing effects of racism and segregation. Perhaps because of Scout, its plucky Tomboy heroine, who even the most cynical reader/moviegoer can’t help but find endearing. Or perhaps because, deep down, it’s the story of a father and the enormous love he has for his children. And the love his children have for him.

Whatever the reasons, it’s probably a good bet that To Kill a Mockingbird (the film) will continue to be seen by generations of moviegoers — indeed, it may be one of the few black-and-white classics in this millennium that will enjoy that luxury. Specific to its time yet universal in its themes, thought-provoking yet entertaining (and yes, just a wee bit sentimental), it’s the kind of film that reminds us of the power of great stories. Great stories — the stories that we remember, the stories that leave an impression, the stories that might even change our lives — don’t simply transport us to a different world. They help us find a deeper meaning in our own.

By the way, To Kill a Mockinbird (129 mins.) lost the Oscar for Best Picture to Lawrence of Arabia (216 mins). One can argue which film is better. No one can argue which film is longer. But few would deny that when it comes to popularity and public sentiment, the Desert Warrior is no match for the Mockingbird.

Proof that it’s not the length of the film that matters. It’s the length of time it lasts in our memories. And our lives.

(P.S. — This blog post goes out to my mom, whose birthday is today and whose favorite film To Kill a Mockingbird. Happy birthday, mom!!!)

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Bank of America’s “Inherent Duty”

by David on October 7, 2011

Last week, Bank of America (aka, a recipient of TARP and one of the major players in the subprime mortgage horror show of ’09) announced it would begin imposing a $5 monthly fee on customers who use their BOA cards for debit purchases.

During a recent interview, BOA’s CEO Brian Moynihan defended his company’s decision.

Of course he did.

“I have an inherent duty as a CEO of a publicly owned company to get a return for my shareholders,” Moynihan said.

Sure, Brian. But what about your inherent duty to your customers? You know, the ones who are still struggling with financial debt, mortgage payments, and economic uncertainty? The ones you still haven’t helped with their loan remodifications and who’ve yet to see a return on their investment and continued loyalty? What’s your duty to them?

Apparently, it’s an increase in fees.

Perhaps someone should’ve reminded Brian: “Hey buddy, we’re all you’re shareholders! The minute BOA asked the federal government for a bailout, we all became your shareholders! And your inherent duty to us — the American people — is to help get this economy back on track by increasing consumer confidence, not increasing fees!”

Some would say that smacks of class warfare. But those people would be assholes.

Is a $5 monthly fee the worst offense in the world? Probably not. (Nearly destroying the U.S. economy is a much more egregious offense.) But it’s indicative of a mindset. It’s why average Americans are occupying Wall Street for a third straight week. It’s why the economy is still struggling. It’s why Fed Chair Ben Bernanke (hardly a socialist) recently insisted that the government and the banks do more to help consumers. I suspect imposing additional fees on them wasn’t exactly what Ben had in mind.

Sadly, BOA still has the right to nickle and dime its customers.

But thankfully, their customers have the right to take their nickles and dimes somewhere else. And hopefully many of them will.

They might even consider it their inherent duty to do so.

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