Funny Girl

Tags

1960's, Barbra Streisand, Drama, Funny Girl, Kay Medford, Musical, Omar Sharif, Walter Pidgeon, William Wyler

Film Title

Funny Girl

Director

William Wyler

Starring

• Barbra Streisand as Fanny Brice
• Omar Sharif as Nick Arnstein
• Kay Medford as Rose Brice
• Walter Pidgeon as Florenz Ziegfeld

A colourful and well mounted movie version of the hit play, itself loosely based on the life of comedienne Fanny Brice, Funny Girl launched Barbra Streisand to movie stardom in her debut role( which garnered her an Oscar.) It’s a wonderful showcase for her and despite a lengthy running time, has more than enough virtues, wonderful music and moments of excellence to entrance.

It is the early part of the 20th Century and in New York, Fanny Brice is Jewish girl of modest means but massive dreams to be a star. No matter who tells her that her nose is too big or her legs are too skinny, Fanny strives to attain life on stage with all she’s got. Initially she starts as a bit player on the vaudeville stage, where her lack of classical beauty and awkward movements stand out a lot, but her determination perseveres. Thankfully, during one particular show, her coltish mien and clumsy mannerisms actually endear her to the audience, and she is a resounding hit. Around this time, she also encounters the dashing gambler and businessman Nick Arnstein, who will play an important role in her life in the years to come. With her act growing more popular, she is shocked and excited when she is hired by the legendary Impresario Florenz Ziegfeld. Fanny can’t believe her luck at being given the opportunity to become a big star as a Ziegfeld girl. Yet with her comedic timing and need to be funny, she at first rubs Ziegfeld up the wrong way. Later, she takes to stage and re-invents a number in her own cheeky way. Ziegfeld is perturbed but seeing how talented she is, encourages her comedienne act. The attention then turns back to Fanny’s relationship with Nick Arnstein, who sweeps her off her feet after years of brief encounters, resulting in marriage. Passionately in love with Nick, Fanny leaves the Follies to concentrate on her love. Yet the ensuing years reveal cracks in their union as Nick becomes resentful of his run of bad luck and Fanny’s continued success. Getting back into performing yet slowly growing unhappy with events, Fanny sees that life is not always as funny as her act.

William Wyler, a most experienced and versatile director, ably and admirably directs Funny Girl; finely judging the funny and light first half and the later bittersweet and dramatic stages. Wyler finds both happiness and sadness in the tale of Fanny Brice, while allowing the production and acting take the biggest chunk of the pie. Superb production design and simply gorgeous costumes are featured, with all the gloss of an Old Hollywood production. One can see that Funny Girl was definitely a prestige project, owing to its luscious photography, dazzling choreography and of course the music. Though the story can feel like standard rise to the top stuff that’s been done dozens of times, the fact that some of it has basis in reality adds and it carries an emotional undercurrent throughout. Now Funny Girl is by no means flawless, as the midsection drags and starts to strain in comparison with the rest of the story. A tad of editing and trimming may have benefited this half of the movie. Luckily, there are many elements that compensate for those niggles and keep you watching the largely engrossing movie. Chief among these are the delightful musical numbers, performed with gusto and depth largely by Barbra Streisand. She gets into the songs so much, fully living them to the highest degree. From an amusing roller skate sequence to the moving ‘People’ and defiantly show stopping ‘Don’t Rain On My Parade’, the musical sections are gorgeous and filled with vitality.

What really makes Funny Girl that something special is the outstanding Barbra Streisand. It’s hard to believe that this was her movie debut because of the confidence and ease with which she plays Fanny Brice. Sure she had played the part on stage and was a legit music star, but cinema is a totally different ball game that Streisand rose to, with Oscar-winning results. Embodying a cheeky, gauche charm that later morphs into sadness and disillusionment as her marriage falls apart and it becomes more difficult to put on a smiley face, Streisand’s commitment and exuberant talent announces itself loud and clear. Expertly funny, unwaveringly purposeful, heartbreaking and with a gorgeously soulful voice, Barbra Streisand earned her Oscar with this stunning performance. Omar Sharif has the required smoothness and ultimate desperation for Nick Arnstein, whose serious gambling problem causes his anger at the way things have turned out. Streisand and Sharif share a very good chemistry, going from charmed and loving to torn apart with conviction. Kay Medford is observant and wise as Fanny’s movie, while the role of Ziegfeld is acted with proper aristocratic ability by Walter Pidgeon. The supporting players do well in their parts, but the film belongs to Barbra Streisand.

A splendidly told musical full of glamour, heart and pangs of sadness, Funny Girl is a bravura film that announces the talents of a legend. It can get long-winded, but the overall dedication of those involved makes Funny Girl a sublime film to enjoy.

Roman Holiday

Tags

1950's, Audrey Hepburn, Eddie Albert, Gregory Peck, Roman Holiday, Romantic Comedy, William Wyler

Film Title

Roman Holiday

Director

William Wyler

Starring

• Audrey Hepburn as Princess Ann
• Gregory Peck as Joe Bradley
• Eddie Albert as Irving Radovich

A beautifully charming, amusing yet bittersweet romantic comedy, Roman Holiday is a glorious and magical movie that weaves its charm on you from start to finish. With a career making role for the wonderful Audrey Hepburn and lovely chemistry with co-star Gregory Peck, this is a romantic comedy of a golden standard that they just don’t make like this anymore.

The plot revolves around the young Princess Ann, who is heir to the throne of an unspecified European country. She is on a tour of Europe and the latest exhausting trip has taken her to Rome. But beneath the courteous bows and wide smile, the young Ann desires freedom from stifling regulations and wants to live a life where she isn’t told what to do or where to go. One night and on the spur of the moment, she sneaks away from her royal life and ventures into the Eternal City. Unfortunately she become dazed due to being given a sedative by her doctor earlier in the night to calm her stress, and she falls asleep on a bench. She is found by American reporter Joe Bradley, who not recognizing who she is, takes her back to his apartment so she can rest as he believes that she is merely drunk. The next morning, Joe discovers thanks to his friends at the newspaper that the woman in his apartment is in fact the Princess, whose chaperons have said that she has been taken ill in order to avoid a scandal as they search for the runaway princess. Joe sees the opportunity to get a story from Ann that could fetch in a lot of money. With the help of photographer friend Irving, he charms Ann by concealing his job and takes her on a days long adventure around the wonderful city. Yet while in the beginning he intended to just get a story from the yearning princess, his heart stops him in his tracks as he falls for the beautiful Ann and reconsiders his actions. The incognito Ann also questions herself as she herself grows enamored with Joe, despite knowing that her adventure can only last for a day.

The masterful William Wyler directs Roman Holiday with a sublime elegance and a certain magic that captures the beauty of the city and the sweet but very touching romance. The way he shoots the Rome locations as a graceful attraction unfolds is a marvel to behold and features some stunning shots of the iconic city. He keeps the humorous escapades in check as well as highlighting a bittersweet undertone due to the fact that Ann and Joe are from different backgrounds and the chance of accepted romance( despite the obvious attraction that slowly grows )coming into fruition is unlikely. There is romance here, but it’s more subtle and tender rather than going overboard on overblown tragedy. It’s all superbly handled and makes the relationship between the two engaging and sublime and it certainly adds to the magical impact of the film that Hepburn and Peck work so beautifully together. In essence, Roman Holiday is a reversal of the Cinderella formula, with the luminous Ann wanting to escape her rich lifestyle and find the freedom that she craves. This subversion is a welcome change and adds to the smart script that rings true with its message of wanting to be free from constraints and wanting to live ones life as one chooses. A delightfully wistful and sweeping score gives voice to the burgeoning romance and freedom that is so yearned for as the magical 24 hours shared by Ann and Joe pass.

This was the movie that launched the young Audrey Hepburn into cinematic royalty, won her a well-deserved Oscar and it’s not hard to see why. Hepburn is beguiling, graceful and moving in her delivery as Princess Ann, imbuing her with a sympathy and charm to spare as she escapes protocol and lives life to her heart’s content for a day. You can’t take your eyes off Hepburn when she’s on screen because of how radiant and graceful she is. This is a true star making role of captivating beauty if ever there was one. She is ably supported by Gregory Peck as the opportunistic journalist Joe whose desire to get a story soon withers as he grows to understand and love the sheltered princess. In the hands of a lesser actor, the role of Joe could have become a real slime ball. But with Gregory Peck in the part, there is a decency there and he exudes more emotion with a glance than some actors can with huge lines of dialogue. Hepburn and Peck have a sterling amount of tender chemistry with one another and it shows so much on the screen. Eddie Albert is very funny as the photographer Irving, who is embroiled in events a little befuddled by what is going on.

Funny yet very touching, Roman Holiday is one of those movies that has not lost any of its nostalgic or romantic impact over the years and remains thoroughly beguiling and sublime.

 

 

The Letter

Tags

1940's, Bette Davis, Film Noir, Gale Sondergaard, Herbert Marshall, James Stephenson, Melodrama, Sen Yung, The Letter, William Wyler

Film Title

The Letter

Director

William Wyler

Starring

• Bette Davis as Leslie Crosbie
• Herbert Marshall as Robert Crosbie
• James Stephenson as Howard Joyce
• Gale Sondergaard as Mrs. Hammond
• Sen Yung as Ong Chi Seng

A tautly directed melodrama, with the shadows of Film Noir covering it, The Letter boasts atmosphere and a terrific performance by Bette Davis.

In Malaya, the calm of a moonlit night on a plantation is disturbed by the sound of a gun. Out of the main house stumbles a wounded man, followed by a woman with a pistol in hand. She unloads the rest of the chambers into his body and calmly watches him die. The woman is Leslie Crosbie, the wife of the plantation owner Robert. The man she shot dead was Geoff Hammond, a respected friend of Robert’s with whom she was having an affair. Robert returns to his wife, who begins to formulate a story to save herself. Playing the act of demure and vulnerable wife( when the reality is that she’s a master manipulator), she tells her attorney Howard Joyce that Hammond made repeated advances on her and she shot him in self-defence. While Robert believes his wife’s alibi, Joyce is more suspicious, even though he is the one representing her in the inevitable trial. Matters become complicated when Joyce’s clerk Ong Chi Seng comes to him with information that could change the outcome of the trial. It seems that Leslie wrote a letter to Hammond on the night she killed him asking him to come and see her as Robert would be away. This evidence could alter the case and imprison the conniving Leslie. The letter has fell into the hands of Hammond’s exotic widow, who demands money for it or she will turn it over to the court. Building tension and sweltering atmosphere combine as Leslie’s lies continue and the intense drama reaches its heights.

William Wyler masterfully directs with deft skill, creating a stifling ambience of lies, murder and the manipulative mind of one woman. Although the story can be seen as melodrama, it does have a certain edge that doesn’t let it slip into tosh, this is mainly down to the excellence of Wyler’s direction and the way he crafts this deceptive tale of murder and lies. The striking use of black and white highlights the Film Noir aspects of the story, with shadows and strange camera angles capturing the rising suspicion and inevitable drama. The score provided is a valuable asset to The Letter, cloaking it in an exotic and menacing aura that rises and falls along with the heated emotions and dark deception at play. The costume design is simply exemplary, especially in the gowns worn by the sly and cold-hearted Leslie. Most of them are white which makes her appear angelic to those around her, but the audience knows that there is a dark heart that lies beneath this masquerade.

Bette Davis is one fine form portraying Leslie, clearly relishing the sly, ruthless and calculating nature of the character. This is a character that Davis plays so well and always in control, but she also lets us see the panic that begins to appear when the existence of the eponymous letter comes to light. The film is Davis’ and she brings her all to the part. Herbert Marshall is suitably naive as Leslie’s husband, who sees her as a virtuous angel. James Stephenson excellently plays Howard, the attorney who is the first to see through the deception of Leslie, but is bound by law to remain silent of his knowledge of this. Gale Sondergaard brings silent, feline menace to the role of Hammond’s exotic and unsmiling widow, whose stare alone gives new meaning to the term ‘if looks could kill’. Sen Yung is used well as Joyce’s informative clerk, who becomes the first to discover the letter and what it could do to the case.

William Wyler’s The Letter brings drama to Film Noir and succeeds with aplomb, thanks to stylish direction, excellent score and central performance from Bette Davis.

 

 

 

The Collector

Tags

1960's, Psychological Thriller, Samantha Eggar, Terence Stamp, The Collector, William Wyler

Film Title

The Collector

Director

William Wyler

Starring

• Terence Stamp as Freddie Clegg
• Samantha Eggar as Miranda Grey

A genuinely disturbing and complex psychological thriller directed with claustrophobic menace and assurance by William Wyler, The Collector is a creepy film boasting two excellent performances from the leads.

Freddie Clegg is a lonely and awkward young man who collects butterflies as a hobby. In flashback, we see how he won the pools and bought a large and isolated house in the English countryside. Freddie has become obsessed by Miranda Grey, a beautiful art student who he begins to stalk on a regular basis. Events come to a head when Freddie kidnaps Miranda and imprisons her in the cellar of his house. He has set out a bed, drawing paper and new clothes for the girl, this stemming from his obsession and spying on her. The terrified girl demands to be set free, but Freddie keeps her there in the hopes that she will come to love him in return. Although frightened in the beginning, Miranda begins to respect Freddie as she sees the extent of his loneliness and his insecurities. The two form an agreement that he will let her go in four weeks if she keeps him company for a while. Yet Freddie is capricious and as the two begin to form an unexpected bond, a misunderstanding spells dire consequences for both.

The Collector features a spine-tingling atmosphere as Miranda attempts to escape but realises the silent intelligence and ruthlessness of her captor. Moody lighting in the cellar give off a cold feeling, whilst being juxtaposed with images of sun-dappled flowers and the collections of butterflies kept by Freddie. This choice of lighting also makes up for the often stagey set. William Wyler builds the events slowly, this helps increase a sense of dread and lets us understand the complex character of Freddie and his pursuit of Miranda’s love. Instead of the traditional one-dimensional maniac and screaming victim, Wyler allows the characters to take on many faces and become more interesting as a result. A lilting score laced with an undercurrent of menace gives The Collector a strange yet romantic side as Freddie and Miranda begin to understand one another after her initial hatred of him for kidnapping her. We also see the warped romantic actions of Freddie and how he is a troubled young man who has always felt isolated and wanted someone to love him.

What gives The Collector its memorable and complex impact is the main performances from Terence Stamp and Samantha Eggar. Being the main two actors throughout the whole movie, they deliver truly compelling performances. Terence Stamp exudes menace and instability yet gives the role of Freddie a sympathetic side that shows the reasons behind his crazed actions. It’s a testament to the talent of Stamp that we at many times feel revulsion for this disturbed character and then in the next breath feel sorry for him. Samantha Eggar projects a terrified innocence that is haunting to watch and gives Miranda a passionate, forceful side that emerges as she develops feelings for Freddie in these extreme circumstances. Freddie maybe the more complex role out of the two, but Eggar plays her part with a certain intelligence that makes us feel the inner feelings of turmoil in her situation.

Chilling, disturbing and complex, The Collector is a psychological thriller that delves into the heart of obsession and emerges with menace and ambiguity.

The Children’s Hour

Tags

1960's, Audrey Hepburn, Drama, Fay Bainter, James Garner, Karen Balkin, Miriam Hopkins, Shirley MacLaine, The Children's Hour, Veronica Cartwright, William Wyler

Film Title

The Children’s Hour

Director

William Wyler

Starring

• Audrey Hepburn as Karen Wright
• Shirley MacLaine as Martha Dobie
• James Garner as Joe Cardin
• Karen Balkin as Mary Tilford
• Fay Bainter as Amelia Tilford
• Miriam Hopkins as Lily Mortar
• Veronica Cartwright as Rosalie

William Wyler directs this powerful and daring adaptation of Lillian Hellman’s controversial play, The Children’s Hour. Focusing on the repercussions of a spiteful lie and the emotional fallout, it provides compelling and emotionally gripping viewing.

Good friends Karen Wright and Martha Dobie are the headmistresses of a private school for girls in New England. Karen is engaged to doctor Joe Cardin, who she plans to marry soon. Martha is slightly jealous of this and doesn’t want her friend taken away from her. She has a heated conversation with her Aunt Lily, a former Broadway star and elocution teacher about her feelings of loneliness. Her aunt tells her that her relationship could be seen unnatural.  Among the girls attending the school is Mary Tilford, a spoiled and vicious bully who delights in trouble. After being reprimanded by Karen over a wrongdoing, the spiteful girl forms a lie based on fragments of gossip given to her by her friends and tells her grandmother Amelia that Karen and Martha are lovers. Mary continues to fabricate this lie making her grandmother believe her. As a prominent citizen, Amelia quickly tells the other parents of the girls. One by one, the girls are withdrawn from the school as the rumours begin to spread about Karen and Martha’s relationship. The lie soon leads to swift, unexpected and ultimately tragic consequences as the two women are ostracized and their school becomes ruined.

The first thing to praise in this powerful tale of the horrifying impact of lies is how it deals with its subject matter. Lesbianism was still very much a taboo subject in the 60’s, The Children’s Hour manages to address this in a way many people will understand and doesn’t sugarcoat the source material. It examines how the women are treated when the rumours start, one particularly horrifying scene includes a group of men gleefully staring at the women, judging them because of their alleged relationship. The scene clearly demonstrates the prejudice and stigma against gay people during this time and shows it to devastating and heartbreaking effect.William Wyler directs with immediacy and quiet power as the camera looms over the school that gradually becomes silent as the girls leave and the two women at the centre of the story are torn apart by the lie of the spiteful Mary. The music score is an evocative one, engulfing the audience in the emotional fallout with crescendos and quiet strings. The script deftly captures the atmosphere of confusion and betrayal all caused by a few words from a little girl.

What gives The Children’s Hour its powerful impact is the talented cast. Audrey Hepburn subtly and luminously portrays Karen with a solemn and quiet reserve that takes on a pained expression when the lie begins to circle and her happy life is destroyed. Shirley MacLaine works excellently against Hepburn and delivers a touching performance as the needy Martha, who begins to crumble as the lie engulfs every inch of her existence. James Garner is suitably kind as the doctor engaged to Karen, who is one of the few people to stand by the women as others judge them. Karen Balkin is wickedness personified as the mendacious Mary, whose little lie puts the swift wheels in motion that lead to the pain endured by Martha and Karen. Fay Bainter nails her supporting role as Amelia, who spreads the lie but comes to see that her granddaughter is fabricating events too late. Miriam Hopkins is a delight as the highly strung Aunt Lily, who accidentally puts her foot in it many times. A young Veronica Cartwright essays the role of Rosalie, a classmate of Mary’s who is blackmailed into cooperating with the telling of the lie.

Powerful, daring and emotionally involving, The Children’s Hour shows the swift and tragic impact that one lie can have on the people involved.