Performance of the Month: Stockard Channing in "Grease" (1978)

She has a Tony Award (and several other nominations) for her performance in "Joe Egg" from 1984, and a basketful of Emmy nominations for her television work, a pair of Emmy statues for her work on "The West Wing" and the tv film "The Matthew Shepard Story", and even an Oscar nomination, yet as far as leaving her mark on film, perhaps it is inevitable that Stockard Channing will be most remembered for the role of Betty Rizzo in the 1978 musical "Grease".  

Rizzo is a pretty stock character, the tough girl, and a darker alternative to the blond blandness of leading lady Olivia Newton-John as Sandy.  The role gives Channing plenty of opportunity to show off her wit and comic timing (witness the gems tossed off as throwaway lines in the first scene with Patty Simcox at lunchtime), as well as a more mature sensibility (the scene with Jeff Conaway at the drive in).  Channing convinces us that she's in command of not only her abilities as an actress, but as the definite leader of the Pink Ladies in her initial scene.  There's no question that the pecking order in the club is "Rizzo first, then everyone else".  That Rizzo comes off as more than just a stereotype is thanks to Channing.  So, Channing is both an expert verbal comedienne, and then turns on a dime to bring off the more serious moments with Conaway.

She even gets a killer solo number in "There Are Worse Things I Could Do", where the character reveals what we've expected all along, that the 'tough girl' has feelings and can be hurt just as easy as anyone else.  That is evidenced by the wry smile that Channing allows herself at the song's end.  This smile had escaped my notice after numerous viewings of this film until it was pointed out to me by my friend Summer last night, and that smile, was the basis for this entire post.  That moment in the film spoke to me, revealed Rizzo's honesty with herself (and the audience) that she is unable to share with any of the characters in the film, neither her boyfriend or closest girlfriends will ever see her this openly, vulnerabilities exposed.

Granted, Channing was (as was the whole cast) well past her teenage years when she tackled the part of Rizzo, and yet she yields to a youthfulness in her performance that is tangy and spicy (again, some flavor to make up for the plainness of Olivia's lead performance).  It may be far from her most acclaimed performance on film (which was not too shabby at all in 1993's "Six Degrees of Separation"), and it will probably always be the role for which she is most remembered, and whether she appreciates it or not, Rizzo and "Grease" made me a Stockard Channing fan for life, even after "The Big Bus" and "The Fish That Saved Pittsburgh".  Now, how many film fanatics can say that?

It's Not Easy Being a Goddess: "My Week with Marilyn" (2011)

On Christmas Day afternoon, I treated myself to a movie, venturing away from all the holiday festivities to take a step back to mid-50's England and explore the story of a young man who wanted to work in films, and landed the once in a lifetime opportunity as an assistant on the set of a film that was to star Sir Laurence Oliver and the one and only Marilyn Monroe.

It can't be an easy task to play someone as iconic as Monroe, for this is a woman whose name is known even by people who've never seen any of her films.  And, as one of the most examined, studied, and researched personalities of the twentieth century, even the strongest performer may shy away from trying to re-capture the magic of such a singular personage on screen.  Luckily, Michelle Williams not only stepped up to the plate but hit an amazing home run as Marilyn.

Williams is an actress whom I have admired since her early years on the teen soap "Dawson's Creek", where I thought she brought a depth and sincerity to the material that some of her unnamed co-stars were unable to do.  She gave a beautiful supporting performance in "Brokeback Mountain" in 2005, earning an Academy Award nomination, and was absolutely heartbreaking in 2008's "Wendy and Lucy".  I wasn't quite prepared for what I can only describe as a transformation in this new film though.  Copying the breathy voice just right is one thing, but seeming to channel the essence of Marilyn Monroe as a whole is an amazing bit of acting.  And, as I've said in prior blogs, calling it acting doesn't quite seem enough.  We can only imagine how the real Marilyn was, from what others have said and written about her, but to me, at times, I would've sworn I was watching Monroe in outtakes from the Olivier film (1957's "The Prince and the Showgirl").

In what is purely a secondary role, Kenneth Branagh likewise does sterling work as British acting legend Sir Laurence Olivier.  Many years after his death, Olivier is still regarded by some as the greatest English actor ever, and to others he is still regarded as one of the greatest overactors.  Branagh is successful at capturing both Olivier's professionalism as well as his ego.

As good as these performances are, I only wish the film had lived up to them.  It's not that the film itself is bad, but that Williams is so good, that her greatness shows weaknesses in the script and direction, as well as how shabbily the film treats other supporting characters like Judi Dench (as Dame Sybil Thorndike) and Julia Ormond (as Vivien Leigh).  It's fine to bring in a character for texture for a scene, but when you have actors the caliber of Dench and Ormond, and don't use them to their advantage, you are clearly showing shortcomings as a director or a screenwriter.

Expect to see both Williams and Branagh on the short list of Oscar nominees next month, and if all the buzz keeps going her way, you just may see Williams holding a golden statuette in a few months, one which Monroe herself was never even nominated for during her career.

Something Old, Something Offensive: "The General Died at Dawn" (1936)

Gary Cooper was one of the most solid leading men of Hollywood's golden age, giving straightforward performances in films from the 1930's- 1950's, including award worthy work in "Mr. Deeds Goes to Town" (1936), "The Pride of the Yankees" (1942), and "High Noon" (1952).  Cooper never seemed to take acting very seriously, and like Spencer Tracy was a very naturalistic actor.  One of his lesser-known works is the 1936 adventure picture "The General Died at Dawn", which concerns a complicated plot about Chinese warlords, double crossing dames, and a middleman attempting to help the rebels attain the munitions necessary to fight the brutal General Yang.

Cooper plays O'Hara, who is working as an agent to assist the struggling peasants acquire the guns needed to fight against the tyrannical Yang.  Madeleine Carroll is the mysterious blonde, Judy, who derails Cooper's plan, but in the end proves her loyalty to the hero.  Akim Tamiroff earned a Supporting Actor Oscar nomination for his work as Yang, but sadly, it is a somewhat offensive portrayal existing of nothing but an overdone accent and lots of Oriental makeup.  Veteran character actor Porter Hall gives a much more impressive supporting performance as Perrie, Judy's father and an associate of Yang who is looking to double cross the General as well as O'Hara.  William Frawley (the future Fred Mertz of "I Love Lucy") provides some comic relief as an inebriated arms dealer.

Other than some rather imaginative cinematography, and the performance by Hall, there's not a lot to recommend this chestnut.  It's a standard 30's adventure drama, with not a lot of real action when you get right down to it.  And, as I said earlier, Tamiroff's performance is such a stereoyped Oriental character that you wonder how on earth he managed Oscar recognition for the role.

Dysfunctional Family Dynamics, Southern Style: "Toys in the Attic" (1963)

This blog was originally posted as a review on IMDb on March 14, 2001, and is being recycled here  to pad out my blog for December.  


Lillian Hellman's play "Toys in the Attic" was adapted for the screen in 1963. The story is reminiscent of Tennessee Williams, as it concerns a southern family with lots of hidden secrets. Also, like Williams' plays that were adapted to film, the staginess shows as the majority of the film's action takes place in the Berniers family home.


Dean Martin stars as Julian, a man who's made a career out of losing jobs and making quick money. He returns to the family home in New Orleans with his young bride Lily, played by Yvette Mimieux, with a plan to make a quick fortune. Martin was never known for being a heavy duty actor, and he is merely adequate in this role, while Mimieux plays her part as a childlike, naive bride very well; almost too well.  But the real reason to see this is the powerful acting of the two ladies who play Julian's sisters: Oscar winners Wendy Hiller (Anna) and Geraldine Page (Carrie) give very differing yet very interesting performances and are quite great in this picture.


Anna is the more mature, careful sister, while Carrie is emotional and dramatic. Carrie's obsession with her brother is unhealthy, and Anna realizes this, and tries her best to keep the peace in the family.  Anna's years of dealing with the reckless Julian and the histrionic Carrie show in the actress' body language, and she has a "matter-of-fact" quality to her vocal performance that gives some of the dialogue more depth and texture than it probably deserves.


The role of Carrie is one of the very rare lead roles that amazingly talented Geraldine Page had in films, and though she seems to sometimes be playing to the second balcony, or is overacting, it fits the role.  Carrie is a character who acts out and is a big old drama queen.  She goes from acting like a flirty little girl to bitter, volatile harpy, to indignant self righteousness.  It is a rich character to play and Page sinks her teeth into it as if it were a juicy apple.  Honestly, unless Geraldine Page or Wendy Hiller are onscreen, this film bores me.


Fading Hollywood beauty Gene Tierney is impressive in a couple of small scenes as Lily's mysterious mother, as is Larry Gates as the vicious businessman Julian is attempting a deal with.  And despite the fact that Dean Martin got top billing, this is a show for the talents of two gifted actresses, with Geraldine Page and Wendy Hiller making the most of this Southern gothic melodrama.

Just Because a Room is Empty Doesn't Mean No One's There: "Session 9" (2001)

A single image that sends chills up my spine, from the 2001 film "Session 9"

This blog was originally posted on MySpace on June 10, 2008, and I am too lazy to write any more new ones tonight, so I'm reposting it here for your enjoyment.

Danvers State Hospital is a real place, and was closed by the state of Massachusetts several years ago.  Long before I heard of this movie, I had seen pictures of the abandoned building on websites that feature photography like that (I'm weird like that, I love pictures of deserted and abandoned places).  In the movie "Session 9", a Haz-Mat crew is hired to remove asbestos from the abandoned building, and each member of the crew seems to have their own issues which are made worse by the creepy atmosphere inside the walls of the place, which is still littered by relics of the former patients, as well as the equipment used in their treatment.

I have a thing for movies that play with your sanity, and this one certainly fits the bill.  It is all about the eerie building and what went on there, especially as heard on the tape recordings of a former patient which are discovered by one of the crew.  As he listens to these tapes (the last one is, of course, session 9) we are exposed to what may be a falsely repressed memory, a serious case of schizophrenia, or perhaps even demonic possession).  The tension builds up and though there is some (typical) blood and gore in the last fifteen minutes or so (which seems out of place after everything else that has all been so internal), the main feeling that stays with you after the movie is one of unease.  After all, isn't the mind really the scariest place of all?

I know that the sound of a strangely calm voice saying "Hello Gordon" will stay with me for years, coming to visit me in the middle of sleepless nights along with other pieces of memorabilia that I've collected over the years: the hearse driver with the leering grin in "Burnt Offerings", the woman with long red hair rising out of a pond in her Victorian-era wedding dress in "Let's Scare Jessica to Death", the stick men hanging in the trees in "the Blair Witch Project", the floating vampire boy scratching at the window in "Salem's Lot" and that quick as a flash deathmask face from "The Exorcist".  I'm 37 years old.  And these things all still have the power to make me feel like a 5 year old, with the covers pulled up over my head, so whatever is there in the room with me, just maybe, won't be able to get me.  Sleep tight!!!

The Real Monsters are Us: "The Mist" (2007)

Marcia Gay Harden cannot keep her craziness to herself in "The Mist" (2007)

This blog was originally posted on MySpace on April 9, 2008, and in the interest of being environmentally friendly, I am reposting it here in its entirety:

Sunday afternoon, after Shaun and I got back from Charleston, we watched the movie "The Mist", which I expected would be the standard horror film.  I soon realized that I was mistaken.  Shortly into the film, I began to see that it was operating on more than one level, and was somewhat of an allegory.  I was impressed by the writing, direction, and visual effects, and especially so with the acting, which was of a higher quality usually found in horror films. 

What happens is fairly simple to explain, and occurs in a small Northeastern town (as typical of Stephen King stories).  Following an intense and violent electrical storm, a group of townspeople find themselves trapped inside a grocery store by an ominous mist that seems to appear from out of nowhere.  There is the usual cross section of people thrown together (a format that goes back to such classic disaster films as "The Poseidon Adventure" and "The Towering Inferno"), with our stalwart hero, the doubter, the unexpected hero, the spunky old people, an innocent child, and of course, the villain of the the piece.

Soon it turns out that the mist holds otherworldly dangers, although the trapped citizens are just as threatened by the fear, paranoia, and confusion going on inside the store.  Toby Jones, who was so good in "Infamous" (the other movie about Truman Capote), made a very disarming, unexpected little hero, and Thomas Jane, whose work I was not at all familiar with, stayed centered and grounded as the main character, around whom the story and more vivid supporting characters swirled.  Veteran character actress Frances Sternhagen (she’s won Tonys for Broadway and been on everything from "Cheers" to "Sex and the City" on television) won our laughter when she stands up to religious fanatic Mrs. Carmody (Former Oscar winner Marcia Gay Harden in the film’s best performance).  Harden’s character believeably goes from slightly off-center but still sympathetic, to downright frightening and vicious.

The film, which is already very dark in mood, takes a turn toward even more disturbing territory when we learn the truth about "the mist", and Mrs. Carmody becomes more unhinged, demanding Old Testament-style retribution from some of the other characters.  The movie may appear to be attacking or mocking religion, but what it actually is focusing on is the danger of fanatacism, and how in a confusing, scary situation the crowd can be whipped into a frenzy by one person with a charasmatic speaking style.  I was reminded of the single-minded posse from the classic "The Ox-Bow Incident", who are determined to host a hanging, whether the suspects are guilty or not.

As the movie rollercoastered to its ending, it again climbed to another level not usually found within the horror genre, putting the audience on the edge of a moral dilemmna faced by the characters.  The truly shocking ending surprised me, much more than such familiar "twist-ending" movies as "The Sixth Sense" and "The Usual Suspects"; I just did not see it coming.  I applaud the filmmakers for ending the movie in such a manner, and must admit that although I thought it was an extremely well made film, I don’t think I could ever sit through it again.

Cotton Candy for the Movie Lover's Soul: "Mamma Mia!" (2008)

Brand new Kennedy Center Honoree Meryl Streep leads a chorus of ladies to the strains of ABBA's 70's classic "Dancing Queen" in a scene from 2008's "Mamma Mia!"

The following post was originally posted on MySpace on July 18, 2008, but I am reposting it here since I just watched the movie again recently, and this post still reflects my feelings about the film:

I did something last night that I haven't done since 2002- no, it wasn't sexual in nature, but it did require being awake for the better part of the night.  That actually doesn't bother me, since I spend every other month working all night, but this was for pure pleasure.

I went to the midnight showing of "Mamma Mia!" at the Spartan 16, where, among a handful of sold out showings of "The Dark Knight", myself and five other people took a little trip to the Greek coast, heard some good (not great) and some not-so-good (not horrible) singing, watched a very talented mix of actors appear to be having a ball while keeping the pretty flimsy plot aloft between the gloriously cheesy 70's era Scandanavian pop lyrics of ABBA.

Despite what "Entertainment Weekly" may have thought, I found the cinematography to be beautiful, and if the Greek islands are that photogenic then book me for the next flight/cruise/whatever to get over there!  Meryl Streep probably won't garner Oscar 3 for her work here, but it is one of the most enjoyable performances I've ever seen her give.  Granted, she earned her reputation as a dramatic actress of the highest caliber playing tragic heroines, but to see her looking disheveled, rolling around on the roof of a goat house was a delight, and she seemed to be enjoying the experience as well.  Although the vocal "talents" of co-stars Pierce Brosnan, Stellan Skarsgard, and Colin Firth may never win them any success on the pop charts, each of them created a distinct character, and each acted (if not sang) their role with the ability they are noted for.

Christine Baranski and Julie Walters provided wonderful backup to Streep (musically as well as dramatically), added to the comedy of the film, and were each rewarded with a song that showcased them.  Baranski's "Does Your Mother Know?" sung amidst a beachful of strapping young men, and Walters' "Take a Chance on Me" performed during a wedding reception were two of my favorite numbers.  The highlight for me however, was definitely the "Dancing Queen" number.  Performed with practically the entire female populace of the island, the scene was joyous and infectious, and left me with a big goofy grin for the remainder of the entire film.

The younger cast members, Amanda Seyfried and Dominic Cooper looked lovely, but never seemed convincing as a real couple.  Seyfried's handled her songs better than I expected, and was even supplied with her own back-up girls (the bridesmaids) who served as a neat parallel to Streep, Baranski, and Walters.  I really can't tell you much about Cooper's singing or acting, but I can tell you that the man was born to wear swimming trunks. 

One fantasy sequence seemed a little out of place, but if you consider the whole movie a fantasy, then it was entirely appropriate.  I won't spoil anyone's fun by mentioning any of the (fairly predictable) plot twists, except to say that I loved that the finale was very inclusive, and also seemed appropriate for the whole movie.  Also, the fact that there was a Greek chorus (literally!) made me happy like a snowcone does on a hot summer day. 

It's not a grand piece of filmmaking that will go down in history- but hey, it was never meant to be.  It's an enjoyable piece of sweet summertime fluff that I thoroughly enjoyed, and will enjoy again sometime soon.  And really, for the cost of a movie ticket, isn't that really a bargain? 

Too Much of a Good Thing: “Pollock” (2000)

Ed Harris, proving that he's a better supporting actor than  a lead in his 2000 film "Pollock".

I start by saying that I know practically nothing of the life or work of Jackson Pollock, except that I have heard of him, and that he was a well-regarded painter.  I must also add that I have mixed feelings about films that feature tortured artists.  Some, like “Frida” from 2002 about Frida Kahlo, have been worth watching, mainly for the impressive performances by Salma Hayek and Alfred Molina, and the impressive art direction and musical score.  Others however, like the 1956 Van Gogh biography “Lust for Life“ can often seem too worshipful or too ’artistic’ in tone themselves.  Despite the fact that Kirk Douglas gave a hell of a performance as Vincent Van Gogh, and probably should’ve won an Oscar for it, the film itself is an overlong depressing affair, which I don’t think I could force myself to sit through again.

Ed Harris, who has had a successful middle-aged career as a sort of go to supporting actor in a wide variety of films, directed and starred in “Pollock” about a specific period of time (the 1940’s and 1950‘s) during Jackson Pollock’s life, centering on the time he was partnered with fellow artist (and wife) Lee Krasner.  As I said, Harris has been a dependable supporting actor in film since the early 1980’s, earning a handful of nominations for films such as “Apollo 13” (1995), “The Truman Show” (1998), and “The Hours” (2002), and also giving impressive performances in films stretching from “The Right Stuff” in 1983 all the way through 2005’s “A History of Violence”.  

Harris gives a showboating lead performance (and was nominated for the only time so far as a Lead Actor), and though he is usually quite effective in supporting roles, here Harris the director indulges Harris the actor by letting him overact his way through numerous drunken outbursts and psychotic episodes throughout the film.  It is in his quieter moments, however, when he isn’t trying to impress us with “performance”, that Harris the actor shines.  In the film’s other lead role, Marcia Gay Harden is solid as Lee Krasner, even if the accent is a little grating, and she has a couple of over the top scenes as well.  Harden's performance is more believable though, and it deserved recognition, yet giving her a Supporting Oscar seems a little bit of category fraud since she’s such a major part of the film.  

A true supporting performance is given by Amy Madigan (Harris’ real-life wife) as art collector Peggy Guggenheim.  Madigan plays this difficult woman with just the right shades of anger, irritation, and class that add a lot to the texture of the film, as do the gallery (pun intended) of other familiar faces in small roles (including Jennifer Connelly, Val Kilmer, and Jeffrey Tambor).  

Overall, Harris the director has a pretty straightforward style.  There aren’t any huge “wow” moments in the picture, yet it is a solidly constructed film that is respectful of it’s screenplay and of it’s actors.  If Director Harris had toned down Actor Harris just a  bit, the film might’ve had more of an impact.  Ultimately, as far as tortured artist movies go, “Pollock” belongs more to the “Lust for Life” side of the tote board than the “Frida” side.