“THE MIRROR CRACK’D FROM SIDE TO SIDE” (2010) Review

“THE MIRROR CRACK’D FROM SIDE TO SIDE” (2010) Review

The 2010 television movie, “THE MIRROR CRACK’D FROM SIDE TO SIDE”, marked the third screen adaptation of Agatha Christie’s 1962 novel of the same title. This particular adaptation from the “AGATHA CHRISTIE’S MARPLE”series starred Julia McKenzie as the leading character, Miss Jane Marple. 

Considering this is the third adaptation of Christie’s novel, I almost feel inclined to compare it to the 1980 and 1992 adaptations. Perhaps I might every now and then. Otherwise, I will try to focus on the 2010 movie itself. The story began with the arrival of Hollywood starlet Marina Gregg and her husband, director Jason Rudd to Jane Marple’s home village, St. Mary’s Mead, England. The pair is in England to film Marina’s latest film about the Egyptian queen Cleopatra. Marina and Jason have purchased Gossington Hall, the former home of Jane Marple’s recently widowed friend, Mrs. Dolly Bantry. The cinematic pair eventually Marina host a fête and reception for St. Mary Mead’s citizens. But due to a minor accident that left her foot sprained, Miss Marple was unable to attend. Among those guests that appeared at Gossington Hall for the fête were:

*Marina’s former husband and gossip columnist Vincent Hogg, who has a personal grudge against her
*Lola Brewster, Vincent’s current wife and Marina’s younger screen rival and Jason’s former lover
*Jason’s personal secretary, Ella Blunt, who happens to be infatuated with him
*Mrs. Heather Babcock, an annoying and self-involved St. Mary’s Mead citizen, who had first met Marina during World War II
*Local photographer Margot Pence, who happens to share a past connection to Marina

While Heather Babcock bores Marina with an account of their previous meeting during the reception at Gossington Hall, she drinks a cocktail meant for Marina and dies. Miss Marple and Detective-Inspector Hewitt discover that the cocktail had been poisoned. Both race to learn the killer’s identity before he or she can reach the true target – Marina Gregg.

I have always been surprised that “The Mirror Crack’d From Side to Side” is not that highly regarded by literary critics. Although some regarded as among the best of her later novels, it remains not as highly regarded as many of her earlier works. This is a pity, because I have always found the 1962 novel to be among Christie’s more interesting works.

There were aspects of “THE MIRROR CRACK’D FROM SIDE TO SIDE” that . . . well, irked me. The production cast actor Nigel Harman as Marina Gregg’s director/husband Jason Rudd. Harman is over twenty years older than Lindsay Duncan, who portrayed Marina. May-December romances on screen are not as uncommon as one would think – regardless of whether the man or woman is older. If the two performers in question have the screen dynamics to overcome this age discrepancy, then fine. The problem is that Harman lacked the screen presence to keep up with the likes of Duncan. He was no Rock Hudson or Barry Newman. Come to think of it, I had the same problem with the Vincent Hogg-Lola Brewster pairing. Actress Hannah Waddingham is over thirty years older than Martin Jarvis. And yet, she seemed to lack the screen presence to keep up with the likes of Jarvis. At least in this television production.

I had another problem with the Vincent Hogg character . . . namely his profession as a gossip columnist. Hogg is supposed to be one of Marina Gregg’s former husbands. If the Vincent Hogg character had met and married Marina before he became a gossip columnist, I could understand this. But a Hollywood star marrying a columnist? I cannot see it. I also had a problem with the Heather Babcock character. I do not mean to be an ageist, but I feel that the actress who portrayed her, Caroline Quentin, was too old at the age of 49-50 to portray Mrs. Babcock. Then again, I could be using age to hide from the fact that I did not find Ms. Quentin’s performance convincing.

Did “THE MIRROR CRACK’D FROM SIDE TO SIDE” live up to this interesting aspect of the novel. I honestly do not know. Perhaps. Perhaps not. Do not get me wrong. With the exceptions of a few changes regarding the story’s characters, the 2010 television adaptation is more than less faithful to Christie’s novel. Thanks to Lindsay Duncan’s superb performance and Tom Shankland’s direction, it did a great job in conveying Marina Gregg’s fragile, yet artistic and ruthless personality and how she managed to accumulate so many enemies. There were certain scenes in the movie that I enjoyed. They include Miss Marple and Mrs. Bantry’s initial meeting with Marina Gregg and Jason Rudd at Gossington Hall for tea; any scene with Victoria Smurfit, who gave a very sharp, yet entertaining performance as Jason’s secretary, Elsa Blunt; the rather hilarious social encounter between the citizens of St. Mary’s Mead and the Hollywood newcomers at fête, and the scene featuring Marina’s breakdown during her filming of a Cleopatra movie.

I certainly had no problems with the movie’s production values. Sheena Napier, who worked on her fifth (out of eleven) “AGATHA CHRISTIE’S MARPLE” movie, did an excellent job in re-creating the fashions of mid-20th century Britain. I can also say the same about Jeff Tessler, who skillfully took television viewers back to the same time period. And I felt somewhat satisfied with Cinders Forshaw’s photography. I say . . . somewhat. Although I found his photography beautiful and colorful, I felt annoyed by the soft focus style that hinted the production’s time period. So unnecessary.

I have already commented on those performances featured in “THE MIRROR CRACK’D FROM SIDE TO SIDE” – like Lindsay Duncan, Victoria Smurfit and Caroline Quentin. I might as well comment on the other performances that I had missed. Julia McKenzie gave a marvelous performance, as always, as the brilliant and observant amateur sleuth, Miss Jane Marple. I noticed, however, that her performance seemed a bit more subtle than usual. Was this due to working alongside the more ebullient Joanna Lumley? I do not know. But I did noticed that the latter’s portrayal of Dolly Bantry seemed even more extroverted than she did in 2004’s “THE BODY IN THE LIBRARY”. I enjoyed Ms. Lumley’s performance, but there were times when I found it a bit grating. I may not have been impressed by Nigel Harman’s chemistry with Lindsay Duncan, but I thought he gave a solid performance as Jason Rudd. On the other hand, I enjoyed Hugh Bonneville’s skillful portrayal of the cool and slightly sharp-tongued Detective-Inspector Hewitt. He also had a surprisingly good screen chemistry with Julia McKenzie. Martin Jarvis nearly dominated every scene he was in as Marina’s resentful, yet malicious ex-husband Vincent Hogg. I wish I could say the same for Hannah Waddingham, but I cannot. Even in those scenes in which she did not share with Jarvis, she made a very disappointing Lola Brewster. I certainly was not disappointed with Charlotte Riley’s excellent, yet cool portrayal of the enigmatic photographer, Margot Bence. I can also say the same about Brennan Brown, who gave a very entertaining performance as Marina’s highly nervous secretary, Hailey Preston. The television also featured solid performances from Olivia Darnley, Samuel Barnett and Neil Stuke and Michele Doctrice.

“THE MIRROR CRACK’D FROM SIDE TO SIDE” is not the best Jane Marple movie I have ever seen . . . or even one of the best. Nor can I say that it is the best adaptation of Agatha Christie’s 1962 novel. But despite its flaws, I must admit that I still managed to enjoy it, thanks to Tom Shankland’s direction, Kevin Elyot’s screenplay and a first-rate cast led by Julia McKenzie.

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Top Ten Favorite Television Productions Set in the 1950s

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Below is a list of my favorite television productions (so far) that are set in the 1950s:

 

TOP TEN FAVORITE TELEVISION PRODUCTIONS SET IN THE 1950s

1 - A Nero Wolfe Mystery

1. “A Nero Wolfe Mystery” (2000-2002) – Timothy Hutton and Maury Chaykin starred in this adaptation of novels and short stories about the New York City based private detective from Montenegro, Nero Wolfe.

 

2 - The Company

2. “The Company” (2007) – Robert Littell produced this three-part miniseries adaptation of his 2002 novel about the Cold War during the mid and late 20th century. Half of the series is set during the 1950s. Chris O’Donnell, Rory Cochrane, Alessandro Nivola, Alfred Molina and Michael Keaton starred.

 

3 - Agatha Christie Miss Marple

3. “Miss Marple” (1984-1992) – Joan Hickson starred in this adaptation of Agatha Christie murder mysteries featuring the elderly sleuth, Miss Jane Marple. The series was produced by George Gallaccio.

 

4 - MASH

4. “M*A*S*H” (1972-1983) – Larry Gelbert developed this Award winning adaptation of the 1970 movie and Richard Hooker’s 1968 novel, “M*A*S*H: A Novel About Three Army Doctors” about a U.S. Army field hospital during the Korean War. Alan Alda, Wayne Rogers and Mike Farrell starred.

 

5 - Agatha Christie Marple

5. “Agatha Christie’s Marple” (2004-2013) – Both Geraldine McEwan and Julia McKenzie portrayed Miss Jane Marple in this adaptation of Agatha Christie’s novels about the elderly sleuth.

 

6 - The Hour

6. “The Hour” (2011-2012) – Romola Garai, Dominic West and Ben Whishaw starred in this series about a BBC news show set in the mid-to-late 1950s. The series was created by Abi Morgan.

 

7 - Magic City

7. “Magic City” (2012-2013) – Mitch Glazer created this STARZ series about a Miami hotel owner during the late 1950s. The series starred Jeffrey Dean Morgan and Olga Kurylenko.

 

9 - Ill Fly Away

8. “I’ll Fly Away” (1991-1993) – Regina Taylor and Sam Waterston starred in this series about a Southern black housekeeper and her complicated relationship with her employer, a white attorney in the late 1950s and early 1960s. The series was created by Joshua Brand and John Falsey.

 

10 - Grantchester

9. “Grantchester” (2014-Present) – James Norton and Robson Greene starred in this adaptation of “The Grantchester Mysteries”, James Runcie’s series of mystery stories that feature an unlikely partnership between a Church of England vicar and a police detective during the 1950s.

 

8 - Ordeal By Innocence

10. “Ordeal of Innocence” (2018) – Sarah Phelps wrote and produced this third adaptation of Agatha Christie’s 1958 novel. The three-part miniseries starred Bill Nighy, Anna Chancellor and Anthony Boyle.

 

 

“COLD COMFORT FARM” (1995) Review

“COLD COMFORT FARM” (1995) Review

Years ago . . . and I do mean a lot of years, I came across a movie inside a video rental store called “COLD COMFORT FARM”. I had never heard of it before that day. But . . . being a period drama fan and discovering that the movie was a comedy set in the 1930s, I decided to give it a try. And I never looked back. 

I managed to rent “COLD COMFORT FARM” several times before the use of VHS recorders/players went out of style. Then I spent several years trying to find a copy of the movie on DVD. It was not until recently that I finally came across a copy of “COLD COMFORT FARM” again, despite the fact that the movie had been released on DVD for several years.

Based upon Stella Gibson’s 1932 novel and directed by John Schlesinger, “COLD COMFORT FARM” told the story of a young upper-class, yet impoverished woman named Flora Poste, who decided to become a writer following the deaths of her parents. Flora decided that due to her impoverished state, she needed to find relatives to stay with, while embarking upon her first novel. Her London relatives seemed to have no interest in offering Flora a place to live, so she wrote letters to some of her rural relatives. After receiving a few unsuitable responses, Flora became intrigued by a letter from a cousin named Judith Starkadder, Flora decided to stay for a while at the Starkadders’ rundown farm. The Starkadders and their servants proved to be an odd bunch that consisted of rustic, uncouth, slatternly and eccentric people that include:

*Aunt Ada Doom – the family’s elderly and paranoid matriarch and owner of the farm, who rarely set foot outside her bedroom, but controlled the family with an iron fist.

*Judith Doom Starkadder – Ada’s depressing daughter, who possessed a penchant for gloomy predictions and a possessive regard for her younger son Seth.

*Amos Starkadder – Judith’s husband, a religious fanatic and local minister with a penchant for hellfire and damnation sermon.

*Seth Starkadder – Amos and Judith’s sexy younger son, a womanizer and movie fanatic

*Reuben Starkadder – Amos and Judith

Deciding that the only to live, while researching for her first novel, Flora decides that the only way for her to live whilst researching her writing is to stay with relatives. Her city-based relatives show no interest, so she sends letters to her country relatives. There are a few responses, most of them unsuitable, but one is intriguing. Flora decides to stay for a while with the Starkadder family on their rundown farm. The Starkadders are an assortment of rustic, uncouth, and truly eccentric characters, each of whom has a hurdle (be it physical, emotional, or spiritual) to overcome before reaching his or her potential. Flora quickly realises that as a modern twentieth-century woman, she can resolve these situations once she has assessed and solved each character’s problems.

Following my recent viewing of “COLD COMFORT FARM”, I found myself wondering if there were any aspects of the film that I did not like or found baffling. Well, I had a few questions regarding Aunt Ada Doom and her daughter, Judith Doom Starkadder. Had the Doom family been members of the local gentry? I found it hard to connect the high-born and well-bred Flora Poste to the obviously non-sophisticated Aunt Ada Doom and Judith Starkadder. I have never read Gibson’s novel, but I do wish the movie had been a bit clearer on the blood connection between Flora and the Starkadder women. Another problem I had with the film was the romance between Elfine Starkadder and the blue-blooded Dick Hawk-Monitor. The latter must have been indulged by his parents as a boy. I find it hard to believe that the Hawk-Monitor family, especially Mrs. Hawk-Monitor, did not raise a bigger fuss over young Dick’s choice for his future wife. Instead, the cinematic Mrs. Hawk-Monitor merely expressed surprise, dismay and eventual resignation over the idea of Elfine as her future daughter-in-law.

Otherwise, “COLD COMFORT FARM” is an engaging and delightful film that never ceases to entertain me every time I watch it. The movie also featured some rather sharp humor that always leaves me in stitches. Before my recent viewing of “COLD COMFORT FARM”, I learned that its literary source, Stella Gibson’s 1932 novel, was basically a parody of the “loam and lovechild” literary genre aka “pessimistic ruralism” that were popular in the late 19th and early 20th centuries – including the novels of Thomas Hardy and Mary Webb. It is this aspect of the movie that made it very entertaining and hilarious to me. In fact, the Starkadder family and their servants used dialogue that is considered a parody of Sussex and West Country rural accents. Words like “mollocking” or “sukebind”(look them up yourselves, for I have not the foggiest idea what they mean) kept popping out of their mouths, causing me to raise and eyebrow or two. And then there is the character of Mr. Meyerburg (aka “Mr. Mybug”), a local writer who pursued Flora and seemed to be obsessed with sex. It is believed that his character was used to parody intellectuals like the Freudians and admirers of author D. H. Lawrence.

On one level, the movie’s narrative made it clear that Flora had remained at Cold Comfort Farm to drag the Starkadders into the early 20th century. But in doing so, Gibbons and screenwriter Malcolm Bradbury had more or less transformed Flora into a trickster figure. You know . . . another Mary Poppins, Loki, Jack Sparrow, Bagger Vance or Dolly Levi. Despite Flora’s subtle and cool personality, she seemed to have the strongest similarity with the latter. Like Dolly and unlike the others, Flora’s tale concluded with a “happily ever after” with the man she loved.

What can I say about the production quality for “COLD COMFORT FARM”? I thought it was pretty solid. Production designer Malcolm Thornton did a good job in re-creating early 1930s Sussex and London. I say good, because if I may be perfectly honest, his designs did not exactly blow my mind. I can say the same about Jim Holloway’s art designs and Chris Seager’s photography. Amy Roberts’ costume designs seemed to perfectly reflect the film’s setting and the characters’ personalities, class, and financial situation. However, I was not that impressed by the hairstyles for the women. Kate Beckinsale’s hair seemed to be a cross of a late 1920s bob and . . . well, something. Joanna Lumley’s shingled bob definitely looked as if it came straight from the mid-to-late 1920s. Aside from the hairstyles, which I admit is a lame complaint, I do not have any real problems with the production values for “COLD COMFORT FARM”.

On the other hand, I found the performances from the cast well done. There were solid performances from the likes of Maria Miles as a charming Elfine Starkadder, Christopher Bowen as Charles Fairford (Flora’s admirer), Jeremy Peters as Urk, the always wonderful Miriam Margolyes as the Starkadders’ housekeeper Mrs. Beetle, Angela Thorne as Mrs. Hawk-Monitor and a very young Rupert Penry-Jones as Dick Hawk-Monitor (although his pencil-thin moustache was not that flattering). Ivan Kaye gave a charming, yet solid performance as Reuben Starkadder, the only member of the family truly capable of managing the farm. And I found Sheila Burrell’s performance as the family’s controlling matriarch very amusing and spot-on.

But there were performances that I found truly entertaining. Stephen Fry was hilarious as a local writer named Mr. Myburg, a D.L. Lawrence fanatic who seems to fancy Flora. Ian McKellen gave a rather funny performance as Amos Starkadder, Aunt Ada’s son-in-law, who happened to be the farm’s manager. Amos is also a religious fanatic, who also happened to be a hellfire-and-brimstone preacher. The scene featuring his rather fiery sermon is not to be missed. I found Freddie Jones’ portrayal of the Starkadders’ farmhand, Adam Lambsbreath, rather charming, hilarious and rather loopy. Joanna Lumley gave a very sly and entertaining performance as Flora’s close friend, London socialite Mrs. Mary Smiling, who seemed to have formed a hobby of collecting brassières. And there was Rufus Sewell, who gave a titilating performance as the family’s ladies’ man, Seth Starkadder. At times, I found his performance both charming and sexy. And at other times, I found his portrayal of Seth’s overt masculinity rather hilarious . . . especially in scenes in which he resorted to poses to attract Flora’s attention.

For me, one of the two funniest performances came from Eileen Atkins, who portrayed Aunt Ada’s daughter, Judith Starkadder. Atkins was superb as the dour Judith, who possessed a disposition for doom-and-gloom prophecies, calling Flora “Robert Poste’s child”, and harboring a . . . uh, slightly incestuous regard for her younger son Seth. Equally hilarious was Harry Ditson who portrayed a close friend of Flora’s and Hollywood producer, Earl P. Neck. I loved how Ditson conveyed his character’s charm, extroverted personality and wit. In fact, he had at least two of the best lines in the movies. But the one person who truly ruled this movie was Kate Beckinsale, who portrayed the story’s main protagonist, Flora Poste. She must have been at least 22 or 23 years old when she shot this film. Beckinsale did not give the funniest performance in the movie. In fact, she seemed to be serving as everyone else’s straight man. But she was the one who kept this movie together; held her own against the likes Atkins, McKellen, Lumley and Burrell; and still managed to portray Flora Poste as a compelling and charismatic personality.

I might have a few complaints about “COLD COMFORT FARM”. But if I must be honest, they were rather minor to me. As far as I am concerned, “COLD COMFORT FARM” was a charming, fascinating and very funny film . . . even after twenty years or so. It was a worthy adaptation of Stella Gibson’s novel, thanks to Malcolm Bradbury’s screenplay, a superb cast led by a charismatic Kate Beckinsale and excellent direction by screen legend John Schlesinger.

“THE WOLF OF WALL STREET” (2013) Review

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“THE WOLF OF WALL STREET” (2013) Review

I can think of only three previous times in which one of director Martin Scorsese’s films has courted controversy. The first time the director courted real controversy was the release of his 1976 film, “TAXI DRIVER”. He also encountered controversy from two other movies – “THE LAST TEMPTATION OF CHRIST” (1988) and 1997’s “KUNDUN”. Scorsese and controversy have met once again . . . this time in the form of his latest release, “THE WOLF OF WALL STREET”

As the world now knows, “THE WOLF OF WALL STREET” is a film adaptation of the memoirs of Jordan Belfort, a New York stockbroker who ran a firm that engaged in securities fraud and corruption on Wall Street in the 1990s. The movie begins when Belfort lands a job as a stockbroker at a Wall Street firm. His boss, Mark Hanna, advises him to adopt a lifestyle of sex and cocaine in order to succeed. Unfortunately for Belfort, the firm fails after the stock market crash ofBlack Monday within a few months. Now unemployed, Belfort is pushed by his wife Teresa to take a job with a Long Island boiler room which deals in penny stocks. Belfort’s aggressive pitching style soon earns him a small fortune and he also befriends Donnie Azoff, a salesman who lives in the same apartment building. The pair decides to start their own firm together and name it Stratton Oakmont. They recruit some of Belfort’s friends – among them, experienced marijuana dealers, colleagues from the boiler room and his parents as accountants. Despite the respectable name, the firm is basically a pump and dump scam. The movie depicts the decadent lifestyle enjoyed by Belfort and his employees, the break-up of his marriage to Teresa and his second marriage to lover Naomi Lapaglia. However, due to an exposé in Forbesmagazine, Stratton Oakmont attracts more enthusiastic employees and the attention of F.B.I. Agent Patrick Denham.

What can I say about “THE WOLF OF WALL STREET”? I thought it was one of the most outlandish and crazy movies I have seen in years. Out . . . landish! And I loved every moment of it. Well, most of it. Who would have thought that after forty years as a director and producer, Martin Scorsese could still astonish moviegoers? Or even piss them off? I had first heard about the negative reactions to “THE WOLF OF WALL STREET”, when I read about veteran actress Hope Holiday’s angry post on her Facebook page about the Motion Picture Academy’s screening of the film. But her reaction was not the first. I have come across a good number of negative reactions to “THE WOLF OF WALL STREET” since learning about Holiday’s reaction. Curious over the hullabaloo, I found myself becoming very eager to see the film. And it did not fail.

It is possible that some might assume that I enjoyed the film simply for the characters’ excess – the sex and drug use that could have easily turn this film into one with a NC-17 rating. Actually, I did not feel one way or the other about the characters’ exercises in degeneracy. I simply accepted it, due to the fact that his excesses had been a part of his life during those years as head of Stratton Oakmont. And from what I have learned about the financial world of the super rich, such excesses were and still are very common. Some have claimed Scorsese had not only glorified Belfort’s lifestyle and crimes, but also allowed the character to get away with the latter with very little punishment – less than two years in a “Club Fed” prison, before becoming a motivational speaker. The U.S. government is responsible for Belfort’s scant punishment, not Martin Scorsese. And I cannot accept that the director glorified Belfort’s lifestyle. All I saw on the movie screen were a bunch of silly men behaving like a bunch of overindulged adolescents with too much money and too many “toys” (namely women, drugs and other expenses) on their hands. Thanks to Scorsese’s direction and Terence Winter’s screenplay, Belfort and his cronies merely struck me as pathetic and infantile.

More importantly, Scorsese’s movie frightened me. Belfort’s willingness to exploit the desires of ordinary men and women to satisfy his own greed struck me as off-putting. Scorsese emphasized this negative aspect of Belfort’s profession by conveying the latter’s lack of remorse toward his victims. I am not lacking in compassionate when I say that I did not need to see the effects of Belfort’s machinations toward his clients. The amoral attitudes of the stock broker and his employees seemed more than enough for me to get an idea on how much those clients suffered. I still have memories of that bizarre scene in which Belfort and the Stratton Oakmont staff treated shoe designer Steve Madden with great contempt, as Belfort expressed his intent to invest in Madden’s company . . . a scene that almost left me shaking my head in disbelief. But if there is one scene that scared me senseless was the one that featured the business luncheon between Belfort and his boss at L.F. Rothschild, Mark Hanna. In this scene, Hanna gave the newly hired Belfort tips on how to become a successful stockbroker. A good deal of those tips involved the use of drugs and sex. But the one tip that really comes to mind was Hanna’s instructions that Belfort prevent clients from cashing out their investments for the profit of the firm and the stockbroker. Hanna’s advice reminded me of how Las Vegas casinos try to keep even winners playing so the latter would eventually lose what they had gained – something I learned from Scorsese’s 1995 film, “CASINO”. That was some scary shit. One other scene proved to be just as scary . . . the last one that found post-prison Belfort hosting a sales technique seminar in Auckland, New Zealand. That last shot of the audience drinking in Belfort’s words they believe will make them rich struck me as a sure symbol of the greed in human nature that really never dies – even if humanity would rather pretend otherwise.

I certainly cannot complain about the movie’s production values. “THE WOLF OF WALL STREET” proved to be a sharp and colorful looking film, thanks to the crew that contributed to the movie’s visual style. Cinematographer Rodrigo Prieto is the man mainly responsible for that sharp and colorful look that I had commented upon. But I also have to commend both Bob Shaw’s production designs and Chris Shriver’s art direction for taking movie audiences back to the excessive greed era of New York during the 1980s and 1990s. Legendary costume designer Sandy Powell contributed to this look by basing many of the men’s costumes on Giorgio Armani’s archives from the 1990s. I also enjoyed her costumes for the female cast members, especially those for actress Margot Robbie. Long-time Scorsese collaborator Thelma Schoonmaker took a movie with a four-hour running time and managed to trim it into a movie one-minute short of three hours. She did an excellent job, although I believe the movie could have benefited with another twenty minutes or so trimmed from its running time. In fact, the extended running time is my one major complaint about the film – especially the sequence that featured Belfort’s downfall.

Other than the frank portrayal of Jordan Belfort’s career as a stockbroker and the financial world of the 1990s and Martin Scorsese’s excellent direction, the one other major asset of “THE WOLF OF WALL STREET” was its talented cast. Once again, the man of the hour is Leonardo Di Caprio, who gives one of the best performances of his career as the charismatic and corrupt Jordan Belfort. When I say it is one of his performances, I damn well mean it. Not only did he give an excellent performance throughout the movie, he gave one of the funniest and probably the best acting moment during the entire year of 2013 – namely a sequence in which Belfort, high on Quaaludes, struggle to get into his car and drive home in order to prevent his partner Donnie Azoff from revealing too much during a telephone conversation bugged by the F.B.I. My God! It was hilarious.

Portraying Donnie Azoff (who is based on Danny Porush) was comedy actor Jonah Hill, who proved he could mix both comedy and drama with great ease and hold his own with the talented Di Caprio. His portrayal of Azoff’s forays into excess and egotistical behavior was a marvel to behold. Margot Robbie, who I remembered from the ABC series, “PAN AM”, portrayed Belfort’s second wife, Naomi Lapaglia (based on Nadine Caridi). She really did an excellent job in portraying the sexy, yet very tough Naomi – especially in one difficult scene in which her character had to deal with marital rape before she put an end to their marriage. The always impressive Kyle Chandler portrayed F.B.I. Special Agent Patrick Denham (based on Special Agent Gregory Coleman), the man responsible for Belfort’s arrest. Superficially, Chandler’s Denham seemed like a quiet, straight-laced type whose dogged investigation brings Belfort to his knees. But Winter’s screenplay and Chandler’s subtle performance allows a peek into the possibility that Denham, who had harbored ambitions to become a stock broker, envies the lifestyle that Belfort managed to achieve, despite the corruption that surrounds the latter.

The movie also featured outstanding performances from Jon Bernthal, who portrayed Belfort’s muscle-flexing Quaaludes dealer. I was amazed at how much Bernthal resembled a younger and better-looking Danny Trejo. Joanna Lumley gave a charming performance as Belfort’s British in-law, Aunt Emma. I especially enjoyed one scene in which Belfort asked her to engage in money laundering on his behalf and both ended up wondering about the other’s attraction. Jean Dujardin gave a sly and funny performance as Swiss banker, Jean-Jacques Saurel, whom Belfort used to hide his money from the Federal authorities. The movie also featured solid performances from Cristin Milioti (“The Mother” from “HOW I MET YOUR MOTHER”), Kenneth Choi (from “CAPTAIN AMERICA: THE FIRST AVENGER”), P.J. Byrne, Jon Farveau, Rob Reiner (who was especially funny as Belfort’s accountant father), Shea Whigham and Christine Ebersole. But the one supporting performance that really had me rolling with laughter came from Matthew McConaughey, who portrayed Belfort’s L.F. Rothschild boss, Mark Hanna. Despite the scary content of Hanna’s advice, I must admit that McConaughey really did a great job in making the most in what almost proved to be a cameo role.

“THE WOLF OF WALL STREET” proved to be appreciative enough for the Academy of Motion Arts and Pictures to give it several nominations, including Best Picture. And there seemed to be a good number of people who seemed to understand what this movie is really about. But I get the feeling that too many are determined to write off this film as nothing more than a glorification of Jordan Belfort’s excessive lifestyle and corruption. I cannot share this feeling. I believe that Martin Scorsese, Terence Winter and the first-rate cast led by Leonardo Di Caprio gave us a movie that many should view as a cautionary tale. I mean, honestly . . . if I ever consider investing my money in stocks, I will whip out a copy of this film to remind me there are plenty of people like Jordan Belfort in this world – even in reputable investment firms – who would not blink an eye to separate me from my money for their benefit. I once read an article that compared stock investments to casino gambling, to the detriment of the latter. After viewing “THE WOLF OF WALL STREET”, I cannot help but wonder if both means of “gambling” are a lot more similar than we would like to believe.

“THE BODY IN THE LIBRARY” (2004) Review

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“THE BODY IN THE LIBRARY” (2004) Review

I might as well say it. Agatha Christie’s 1942 novel, “The Body in the Library” has never been a particularly favorite of mine. Nor have I ever been that fond of the 1984 television adaptation that starred Joan Hickson. So, when ITV aired another adaptation of the novel, I was not that eager to watch it. But I did. 

“THE BODY IN THE LIBRARY” proved to be a slightly complicated tale that begins with the discovery of a dead body in the library of Gossington Hall, the home of Colonel Arthur and Dolly Bantry. The body turns out to be a peroxide blonde in her late teens with heavy make-up and dressed in a satin gown. The police, led by Colonel Melchett, Chief Constable of the County, first suspects a local St. Mary Mead citizen named Basil Blake, who has clashed with Colonel Bantry in the past. However, Colonel Melchett discovers there is a living, breathing peroxide blonde in Blake’s life named Dinah Lee. Superintendent Harper of the Glenshire police becomes a part of the investigation, when he reveals the identity of the corpse as eighteen year-old Ruby Keene, a professional dancer who worked at the Majestic Hotel Resort in Danemouth. Ruby’s body is identified by her cousin Josie Turner, another professional dancer at the Majestic.

While both Colonel Melchett and Superintendent Harper investigate Ruby’s death, Dolly Bantry recruit her old friend and neighbor, Jane Marple to conduct her own investigation. Both the police and Miss Marple discover that another old friend of the Bantrys – a wealthy guest named Conway Jefferson, had reported Ruby’s disappearance. During the last year of World War II, Jefferson’s son and daughter were killed during a V-1 attack; leaving him physically handicapped and his son-in-law Mark Gaskell and daughter-in-law Adelaide Jefferson widowed. Since her arrival at the Majestic Hotel, Ruby had grown close to Jefferson. Their relationship led the latter to consider adopting Ruby and leaving her his money, instead of his in-laws. But despite their strong motives, both Mark and Adalaide had alibis during Ruby’s murder. Also more suspects and another corpse – a sixteen year-old Girl Guide – appear, making the case even more complicated.

Kevin Elyot’s screenplay featured changes from Christie’s 1942 novel. Like many “AGATHA CHRISTIE’S MISS MARPLE”movies, “THE BODY IN THE LIBRARY” is set during the 1950s. Certain characters from the novel, including Miss Marple’s old friend Sir Henry Clithering, were eliminated. Jefferson’s family is killed during World War II by a V2 rocket, instead of in a plane crash. Jefferson’s son and Mark Gaskell were RAF pilots. And one of the murderers’ identity was changed, leading to an even bigger change that will remained unrevealed by me. But do to Elyot’s well-written screenplay and Andy Wilson’s colorful direction, the changes did not affect my enjoyment of the movie. And that is correct. I enjoyed“THE BODY IN THE LIBRARY” very much. Mind you, I did not find it perfect. Following the killers’ revelation, there was a scene in which the latter were being booked by the police that I found a bit silly and over dramatic. Also, a part of me wished that Miss Marple’s exposure of the killers could have occurred in their presence and in the presence of the other suspects. But . . . considering the circumstances and emotions behind the two murders, I could understand why Elyot did not.

“THE BODY IN THE LIBRARY” proved to be one of the most colorful and lively Miss Marple productions I have ever come across. And I find this ironic, considering my feelings for the original novel and the 1984 television movie. First of all, I have to give credit where it is due – namely to director Andy Wilson. Not only did his direction infuse a good deal of energy and style into a story I had previously dismissed as dull. More importantly, he maintained a steady pace that prevented me from falling asleep in front of the television screen. Martin Fuhrer’s photography of the British locations in Buckinghamshire and East Essex certainly added to the movie’s colorful look. Production designer Jeff Tessler did an excellent job of re-creating the look and color of a seaside British resort in the 1950s. But the one aspect of movie’s production that really impressed me were the movie’s costumes designed by Phoebe De Gaye. They . . . were . . . beautiful. Especially the women’s costumes.

The performances were first rate. “THE BODY IN THE LIBRARY” proved to be Geraldine McEwan’s first time at the bat as Miss Jane Marple. Ironically, the 1984 version of this story proved to be the first time Joan Hickson portrayed the elderly sleuth. And like Hickson, McEwan immediately established her own style as the soft-spoken, yet uber-observant Jane Marple, by injecting a bit of eccentric behavior and habits into the mix. Joanna Lumley gave a deliciously vibrant performance as Miss Marple’s close friend, Dolly Bantry, who gets caught up in the murder investigation and the glamour of the Majestic Hotel’s atmosphere. Ian Richardson struck the right emotional note as the physically disabled Conway Jefferson, who re-focused his feelings upon the doomed Ruby Keene, after years of dealing with the loss of his family. Both Simon Callow and Jack Davenport gave funny performances as the two police officials in charge of the case – the occasionally haughty Colonel Melchett and the sardonic Superintendent Harper. Mary Stockley gave a subtle performance as Ruby’s cousin, the no-nonsense Josie Turner, who has to deal with the death of a close relative. Jamie Theakston had a great moment in a scene that featured Mark Gaskell’s conversation with Miss Marple about his character’s difficulties in dealing with the loss of his wife and friends during the war and his financial difficulties since. Tara Fitzgerald’s portrayal of Jefferson’s daughter-in-law, Adelaide, struck me as warm and very sympathetic. Ben Miller did a great job in portraying the colorful, yet slightly pathetic personality of Suspect Number One Basil Blake. And James Fox had a small role in “THE BODY IN THE LIBRARY”, but he did a very good job in conveying Arthur Bantry’s embarrassment over the discovery in his library and the gossip directed at him.

The flaws featured in “THE BODY IN THE LIBRARY” struck me as minimal, in compare to the movie’s virtues. More importantly, Andy Wilson’s direction and Kevin Elyot’s screenplay infused an energy into this adaptation that seemed to be lacking not only in the 1984 movie, but also in Christie’s novel. This might prove to be one of my favorite Miss Marple movies to feature the always talented Geraldine McEwan.

“THE CAT’S MEOW” (2001) Review

“THE CAT’S MEOW” (2001) Review

There have been many accounts of the infamous November 1924 cruise held aboard William Randolph Hearst’s yacht, in honor of Hollywood producer Thomas H. Ince’s birthday. But the biggest . . . and probably the most fictionalized account was featured in “THE CAT’S MEOW”, Peter Bogdanovich’s adaptation of screenwriter Steven Peros’ stage play. 

The movie takes place aboard Hearst’s yacht on a weekend cruise celebrating Ince’s 42nd birthday. Among those in attendance include Hearst’s longtime companion and film actress Marion Davies, fellow actor Charlie Chaplin, writer Elinor Glyn, columnist Louella Parsons, and actress Margaret Livingston. Many of the guests harbor agendas that revolve around Hearst and Davies. Chaplin, who has become infatuated with the actress, sees the weekend cruise as a chance to declare his feelings for her . . . and convince Davies to end her relationship with the publisher. Parsons sees the cruise as a chance to develop a stronger professional relationship with her boss, Hearst, and relocate from the East Coast to Hollywood. Faced with a bad financial situation and accompanied by his mistress Margaret Livingston, Ince hopes to convince Hearst to allow him to become a partner in the publisher’s Cosmopolitan Pictures. Hearst suspects that Davies and Chaplin are engaged in an affair and has great difficulty in battling his jealousy. Thanks to this jealousy, a violent death ends the cruise, which becomes a subject of Hollywood legend.

After watching “THE CAT’S MEOW”, I realized that after so many years of documentaries and somewhat mediocre films, Peter Bogdanovich had maintained his touch as a first-rate director. At least back in 2000-2001. “THE CAT’S MEOW”struck me as a first-rate character study of a good number of film and publishing luminaries in the world of 1920s Hollywood. What I found interesting is that aside from one or two characters, most of them are not what I would call particularly sympathetic. Well, superficially, hardly any of them are sympathetic – including the very likable Marion Davies, who was not only Hearst’s official mistress, but who was doing a piss-poor job of hiding her attraction for Charlie Chaplin. But despite the lack of superficial charm, the movie managed to reveal the demons and desires of each major character. And thanks to Steven Peros’ screenplay and Bogdanovich’s direction, characters like Hearst, Davies, Chaplin and Ince rose above their superficial venality and ambiguity to be revealed as interesting and complex characters. The most interesting aspect of “THE CAT’S MEOW” was that many of the characters’ agendas either succeeded or failed, due to the romantic drama that surrounded Hearst, Davies and Chaplin.

For costume drama fans such as myself, “THE CAT’S MEOW” offered a tantalizing look into the world of Old Hollywood in the 1920s. Bogdanovich made a wise choice in hiring Jean-Vincent Puzos to serve as the movie’s production designer. In fact, I was so impressed by his re-creation of November 1924 that I felt rather disappointed that his efforts never received an Academy Award nomination. Puzos’ work was aided by the art direction team led by Christian Eisele and Daniele Drobny’s set decorations. But the second biggest contributor to the movie’s 1920s look were the gorgeous costumes designed by Caroline de Vivaise. I was extremely impressed by how the costumes closely adhered to the fashions worn during that particular decade. But de Vivaise did something special by designing all of the costumes in black and white – as some kind of homage to the photography used during that period in Hollywood. And if anyone is wondering whether de Vivaise won any awards or nominations for her work . . . she did not. What a travesty.

Bogdanovich gathered an impressive cast for his movie. “THE CAT’S MEOW” featured first-rate performances from the likes of Claudie Blakley and Chiara Schoras as a pair of fun-loving actresses that embodied the spirit of the 1920s flappers; Claudia Harrison as Ince’s frustrated mistress, actress Margaret Livingston; Ronan Vibert as one of Hearst’s minions, the stoic Joseph Willicombe; and Victor Slezak as Ince’s sardonic and witty colleague, George Thomas. But the more interesting performances came from Jennifer Tilly, who gave a delicious performance as the toadying and opportunistic columnist, Louella Parsons; Joanna Lumley as the wise and occasionally self-important novelist Elinor Glyn; and especially Eddie Izzard, who was surprisingly subtle and witty as the wise-cracking, yet passionate Charlie Chaplin.

But in my opinion, the three best performances in “THE CAT’S MEOW” came from Edward Herrmann, Cary Elwes and Kirsten Dunst. The latter was the only member of the cast to earn an award (Best Actress at the Mar del Plata Film Festival) for her performance as Hollywood starlet and W.R. Hearst’s mistress, Marion Davies. What made Dunst’s performance so remarkable was that she was the only one – as far as I know – who portrayed the actress as a complex and intelligent personality, instead of the one-note stereotype that director Orson Welles had introduced in his 1941 movie,“CITIZEN KANE”. I suppose one could credit screenwriter Steven Peros for writing a more realistic portrayal of Davies’ true nature. But it would have never worked without Dunst’s performance. Cary Elwes gave – in my opinion – the best performance of his career so far as the harried and ambitious movie producer, Thomas Ince. What made Elwes’ performance so impressive was the subtle manner in which he conveyed Ince’s desperation to save his career as a Hollywood producer through any means possible. But for me, the best performance came from Edward Herrmann as the wealthy and controlling William R. Hearst. Herrmann did a superb job in conveying some of the worst aspects of Hearst’s nature – sense of privilege, arrogance, his bullying and bad temper. Yet, Herrmann also managed to convey Hearst’s desperate love for Davies and vulnerabilities through the more unpleasant mask. It was a remarkable performance that failed to garner any real recognition. And this is more of a travesty to me than the lack of awards for production design or costumes.

I tried to recall anything about the movie that left a negative mark within me and could only come up with one or two matters. The movie seemed to be in danger of slowing down to a crawl, following the tragic shooting that followed Ince’s birthday party. I wonder if Bogdanovitch had tried too hard to reveal the details that led to the cover up of the incident. However, one particular scene really annoyed me to no end. It was the scene that featured Elinor Glyn’s theory about the“California Curse”:

“The California Curse strikes you like a disease the Minute you set foot into California..so pay close attention, my dear. You See this place you’ve arrived in, the place we call home…isn’t a place at all. But a living creature. Or more precisely an evil wizard like in the old stories. And we all live on him like fleas on the belly of a mutt. But unlike the helpless dog, this wizard is able to banish the true personalities of those he bewitches. Forcing them against their will to carry out his command, to forget the land of their birth, the purpose of their journey, and what ever principals they once held dear. The Curse is taking hold of you if you experience the following: You see yourself as the most important person in any room. You accept money as the strongest force in nature. And finally your morality vanashes without a trace.”

As far as I am concerned, Elinor Glyn was full of shit. She could have easily described any individual who forgets his or her principles, no matter where that person resided. And according to Ms. Glyn, the curse has three symptoms – seeing yourself as the focus of all conversations, using money as the most important measure of success, and the disappearance of all traces of morality. Why she seemed to believe that such a mindset only existed in Calfornia . . . or better yet, Hollywood, is beyond me. Anyone with too much ambition could acquire this curse in many other places in the world. Peros and Bogdanovich’s decision to include this crap in the movie damn near came close to ruining my enjoyment of the movie.

But in the end, I managed to overcome my annoyance of the so-called “California Curse”. Why? Because “THE CAT’S MEOW” remained a first-rate and entertaining movie about Old Hollywood that impresses me, even after ten years.“Hooray for Hollywood!”.