REVIEWS OF RENTED DVDs I GET IN THE MAIL

Posts Tagged ‘dancers’

GRAND HOTEL (1932)

In Best Picture Winners, Classic, Drama, G, Motion Pictures, Romance on May 25, 2010 at 5:08 am

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STUDIO — MGM

CAST — Greta Garbo, John Barrymore, Lionel Barrymore, Joan Crawford, Wallace, Beery, Lewis Stone, Jean Hersholt

DIRECTOR — Edmund Goulding

NOT RATED (MPAA Equivalent: PG-13)

“Grand Hotel. Always the same. People come. People go. Nothing ever happens…”

This now immortalized line, spoken by Dr. Otternschlag (Lewis Stone), heralds the beginning of the Best Picture of 1932, Grand Hotel, a motion picture which holds a unique record in Academy Awards history, and also has a unique history of its own. It is the only movie to win Best Picture without so much as a nomination in any other categories. It is also one of the earliest examples of what is now known as the “ensemble cast”, which included Greta Garbo, Wallace Beery, Joan Crawford, Jean Hersholt (as in the Academy’s humanitarian award), and not one, but two Barrymores (Lionel and John, in their second of four films together).

Grand Hotel spans three nights at the eponymous hotel in Berlin, where the lives of prima ballerina Grusinskaya (Garbo), Baron von Gaigern (John Barrymore), stenographer Flaemmchen (Crawford), businessman Preysing (Beery), terminally ill bookkeeper Otto Kringelein (Lionel Barrymore), war veteran Dr. Otternschlag (Stone), and porter – and expectant father – Senf (Hersholt) overlap, and in some cases collide. Grusinskaya is depressed, and her performances of late have reflected her mood. She is in such a funk, that she no longer wants to perform (It should be noted that this is the movie in which Garbo speaks her most famous line, “I want to be alone”). The Baron is a smooth operator, an easygoing gentleman who also happens to be a thief with a heart of gold, as well as a chaser of anything in a skirt. Flaemmchen is a stenographer and sometimes model called to the Grand Hotel to take dictation for Preysing, a business magnate with a solid reputation. Kringelein used to work for Preysing as a bookkeeper until he fell ill, so he decided to spend his final days in the lap of luxury, regardless the cost. The good doctor is a local who frequents the hotel and observes the goings-on. Finally, poor Senf the Porter, forced to work while his wife is in (very protracted) labor, cannot break free from his duties out of fear he’ll lose his job.

Baron von Gaigern, Otto Kringelein, and Dr. Otternschlag (John Barrymore, Lionel Barrymore, Lewis Stone) at the baccarat table

Now that you know how everything starts, let me just say that Grand Hotel is an absolute delight to watch. I will caution that there are parts of this movie which belie its age, but in the grand scheme of things, it still shines as one of the best motion picture of the early years of the Academy Awards. Joan Crawford had already been a veteran in motion pictures by the time of Grand Hotel, but her role as the stenographer is among the first of her many meaty roles during her acting career.

Meanwhile, there was much ballyhoo about the pairing of John Barrymore and Greta Garbo, so much that the normally (and notoriously) reclusive Garbo actually allowed backstage publicity photos of her with him. This unique union of The Face and The Great Profile proves to be one of the many captivating storylines in this movie. Finally, John Barrymore’s brother, Lionel, has a memorable scene when Kringelein confronts his boss, Preysing (Beery), at the hotel’s lounge and tells him how much of a slave driver he really is.

For a place where “nothing ever happens”, a lot seems to be going on at the Grand Hotel. It is a story of star-crossed lovers, of unscrupulous businessmen, of happiness and tears, and (most important) a story that follows the Latin expression “Carpe diem” (Seize the day). It is a story of love discovered and of fortunes lost, and at the end of the movie, another busload of weary travelers step off the bus for their stay at the most famous hotel in Berlin.

The special features on the DVD include footage of the premiere of Grand Hotel at Grauman’s Chinese Theatre, trailers for the movie (including a “Time is running out” trailer made for the Chinese Theatre), and a short from Warner Bros. called “Nothing Ever Happens”, a spoof of the movie. There is also a trailer for a remake released by MGM in 1945 called Week-end at the Waldorf, starring Van Johnson, Lana Turner, Walter Pidgeon, and Ginger Rogers (As of this writing, it is not available from Netflix; I will review it if and when it is released).

If there is a drawback to Grand Hotel, it’s that the character names are among the most difficult to remember, let alone pronounce. And, as I said earlier, there are a few areas which show the film’s age, but it isn’t such a bad thing because I feel it enhances the movie’s charm. In 1932, the term “ensemble cast” was a practically unknown term, but Grand Hotel showed the world that seven of Hollywood’s biggest stars of the day can indeed work together and create a masterpiece. And that masterpiece is set at the Grand Hotel, where people come, people go, and nothing ever happens…

4 (out of 5)

THE GOODBYE GIRL (1977)

In Comedy, G, Motion Pictures, Romance on May 9, 2010 at 1:04 am

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STUDIO — Warner Bros.

CAST — Richard Dreyfuss, Marsha Mason, Quinn Cummings, Paul Benedict

DIRECTOR — Herbert Ross

MPAA Rating: PG

In the history of motion pictures, there are a few select years in which the Academy got them all right, and it’s almost a sure thing that you have seen at least one Best Picture nominee from that year. The usually-mentioned first “great year” was 1939, when Gone with the Wind took Best Picture. There were nine other nominees that year, including Ninotchka, Goodbye, Mr. Chips, Wuthering Heights, and a little-known fantasy called The Wizard of Oz (perhaps you’ve heard of it). 1977 is said to be another such year, with Woody Allen’s Annie Hall taking the honors, while another small film called Star Wars waited in the wings. Here is an interesting fact: Director Herbert Ross helmed two of the five Best Picture nominees in 1977, The Turning Point and The Goodbye Girl. And, like Star Wars, they also watched while Woody Allen won. I have seen both of these movies, and both are excellent. One is a drama, the other a comedy, and both are about dancers. Today, I focus on the lighter of these two movies.

Paula McFadden (Best Actress nominee Marsha Mason) is an ex-dancer in New York City. For the last couple of years, she and her daughter Lucy (Best Supporting Actress nominee Quinn Cummings, in her official motion picture debut), have been living in an apartment with a stage actor named Tony. We first meet Paula and Lucy on their way home from a shopping spree, eagerly anticipating their upcoming move to L.A. (Tony got a TV gig). But when they get home, Paula finds a “Dear Jane” letter from him, saying he took a six-month movie shoot in Italy instead. But it gets better! Later that day, she finds out Tony had sublet the apartment to somebody else!

Paula (Marsha Mason) and Elliot (Richard Dreyfuss) discuss the living arrangements

Enter Elliot Garfield (Best Actor Richard Dreyfuss), an actor from Chicago who is about to start rehearsals for his first New York production. He enters the apartment building from the pouring rain, sticks his key into the lock, turns it… and discovers the door is chained from the inside! Puzzled as to why he can’t enter, he hits the buzzer to figure out what’s going on. To say this relationship starts on a rocky note is an understatement, but seeing that he has the legal right (and the money) and she has a child to take care of, they agree to share the apartment.

This is why I like Neil Simon. I have regarded him as one of the greatest American playwrights. He is to contemporary comedy what Tennessee Williams was to Southern melodrama. There is really no other way to put it. Now, most movies with Simon’s name on them start out as plays, like The Odd Couple or Barefoot in the Park. But The Goodbye Girl was written directly for the screen, and with Simon’s (then) wife, Marsha Mason, in mind. But it still looks and feels like a Neil Simon play. One of his trademarks is how he writes conflict into his scripts: Two characters (usually the leads) start yammering about two completely different things, then the conversation comes closer and closer to the subject at hand until they are both talking about the same thing, only to drift off into opposite directions again (I picked that little gem of information up from my high school drama teacher, Susan Stauter. See? It is possible to recall things you learned in high school! Wherever you are, Ms. Stauter, I hope you are well).

Anyway, The Goodbye Girl stands out as one of the great romantic comedies of the 1970s, and arguably of all time. Both Dreyfuss and Mason are a delight to watch, especially when they first meet! On that first night, you will be thinking “Wait a minute! These people hate each other!” And they do. Just watch it for yourself, and see what happens. Both Dreyfuss and Mason give energetic performances. And, since a performance is sometimes based on the quality of the script, it stands to reason that the screenplay is also top-notch.

As for Quinn Cummings, who makes her official debut in this movie (she also had an uncredited role in Annie Hall that year), her portrayal of Lucy was spot-on. Lucy is our eyes and ears in this movie. Let me explain. Good drama requires two basic types of people, participants and observers. Paula and Elliot are obviously participating in a developing relationship. Lucy is on the outside. She is watching these events unfold as an independent third party, making her the observer. And before you say “But she is her mother’s child”, remember that Lucy is not the one directly dealing with Elliot, Paula is. Therefore, as an observer, she get to be our eyes and ears, as we watch Paula and Elliot’s relationship develop. As for the character herself, Lucy is supposed to be at just that right age when she is learning and discovering how things really work in this world. As a result, Lucy is supposed to possess a special curiosity and innocent wisdom, as evidenced during the opening credits, when Paula tells Lucy she was “born [at age] 26”. As played by young Miss Cummings, Lucy comes off as a child with that kind of precociousness.

I will be the first to admit that The Goodbye Girl isn’t my personal favorite of Neil Simon’s work (That honor goes to The Odd Couple), but it is among the best that Neil Simon has to offer. A note to all you guys out there: This is a great movie to pop into the DVD player with your other half on a rainy night, just you, her, the movie, and a giant bowl of popcorn. Trust me. If she hasn’t seen this one, she’ll be glad you introduced her to it. It was great to watch 30 years ago, and I can still watch it today. And even now, it will still make me smile.

4 out of 5