REVIEWS OF RENTED DVDs I GET IN THE MAIL

Posts Tagged ‘rivals’

THE GREAT ZIEGFELD (1936)

In Best Picture Winners, Biography, Classic, Drama, Epic, G, Motion Pictures on June 29, 2010 at 6:28 pm

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STUDIO – MGM

CAST – William Powell, Myrna Loy, Luise Rainer, Frank Morgan, Virginia Bruce, Ernest Cossart, Fanny Brice, Ray Bolger, Nat Pendleton, Buddy Doyle, A.A. Trimble

DIRECTOR – Robert Z. Leonard

NOT RATED
(MPAA Equivalent: PG)

From the beginning of the 20th Century until the beginning of the Great Depression, the entertainment world was focused not just on New York City, but on one man who can arguably be attributed to giving Broadway its charm, luster, and appeal, Florenz Ziegfeld, Jr. He was a charming man, but at the same time he was very reckless. If he had two nickels to rub together, he’d spend it. His shows (most of them a series of “Ziegfeld Follies“) were renowned the world over, but Ziegfeld himself never kept any money. He spent it on lavish production pieces, the cast and crew, his women, and of course, the many wolves knocking at his door. He died a poor man in 1932, forcing his widow, Billie Burke, to work in motion pictures to pay off his debts. But his influence in show business has since reached out even today, both on Broadway and in Hollywood. Four years after his death, The Great Ziegfeld opened nationwide, and the next year, it became the first biographical motion picture to take home the Oscar for Best Picture.

The story opens during the Chicago World’s Fair in 1893, where a young Ziegfeld (William Powell) and his friend and rival Jack Billings (Frank Morgan) hold court at their respective booths, barking for their shows. At first Billings, with his exotic dancer known as Little Egypt, is drawing the large crowds, while Ziegfeld’s show, featuring muscleman The Great Sandow, has been threatened with eviction from the midway. Then, as if by miracle, a female admirer approached Sandow and asked to feel his muscles; from that moment on, he became a sensation, and Ziegfeld was on his was way to bigger and better things. The movie then traces what would be the final 30 or so years of Ziegfeld’s life, including his relationship with Anna Held (Best Actress Luise Rainer), the creation of the Follies, his marriage to Billie Burke (Myrna Loy), and his fall after the Crash of 1929.

Florenz Ziegfeld (William Powell) recruits Anna Held (Luise Rainer) to perform on Broadway

Let me get this out of the way now: Though full of musical numbers, The Great Ziegfeld is not a musical. It a dramatic motion picture of a man who gave the world groundbreaking entertainment on such a lavish scale, that some examples of his work (and a few tributes as well) were added to the story. For example, the centerpiece of this movie is Irving Berlin’s “A Pretty Girl Is Like a Melody”, an elaborate seven-minute long trek up a spinning spiral staircase featuring additional music by Strauss, Liszt, Dvorák, and Gershwin (among others). It plays out as a staged production, and is not a song Florenz Ziegfeld sings to upstart actress Audrey Dane (Virginia Bruce), who, by the way, was the titular “Pretty Girl” at the top of those stairs.

What I can tell you about this movie is that it’s a costume designer’s dream. Every Ziegfeld number is a veritable orgy of sequins, silk, and silver lamé, each one more extravagant than the last. And another of the musical numbers, entitled “You Never Looked So Beautiful”, features a parade of costumed beauties in the Ziegfeld style, with ornate trains and flamboyant headdresses (some weighing as much as 50 pounds!). Each of the sets for these numbers was equally elaborate, including one which redefined the term “thrust stage” by having five individual sections of the stage come out toward the audience, choreographed and on cue, even while dancers were performing on them. By far, this and the “Pretty Girl” number are among the most ambitious musical set pieces ever performed in motion picture history, and by themselves, just might be worth the price.

But the drawback to these set pieces is they sometime take away from the movie’s intent. William Powell’s performance of Flo Ziegfeld was nearly spot-on; he even bore a slight resemblance to the great showman. Billie Burke made sure that the screenplay didn’t tarnish her late husband’s image, but that didn’t stop Virginia Bruce from chewing the scenery (wine bottle in hand) as a composite of Ziegfeld’s mistresses. And though Ms. Burke did not appear in the movie, she was competently played by Powell’s favorite screen partner, Myrna Loy (They made 14 movies together). This leaves Luise Rainer’s performance of Anna Held. At the time, Ms. Rainer had never heard of the legendary French-Polish actress, so she drew her performance from the script, resulting in an overdramatic characterization that falls nothing short of potential diagnosis of histrionic personality disorder, including the prototypical and now-famous “good luck through the tears” phone call in her last scene.

The Great Ziegfeld also features scenes of famous performers of the early 20th Century. Aside from Eugen Sandow (for whom the Mr. Olympia trophy is named), Anna Held and Billie Burke, singer/dancer Eddie Cantor (Buddy Doyle) and legendary humorist Will Rogers (A.A. Trimble) are placed on exhibit in brief scenes. And, as an added treat, both Fanny Brice and Ray Bolger play themselves as a tribute to Ziegfeld, and both shine in their respective performances.

All in all, The Great Ziegfeld is a prime example of ROI (return on investment) in motion pictures. Opening to critical and popular acclaim, this movie, budgeted at $2 million, made about $40 million in its initial release. Can you think of a movie made by a major studio in the last 30 years that recouped 20 times its budget (or more) on just its first-run domestic theatrical release? With the exceptions of E.T.: The Extraterrestrial (1982), which grossed 33.2 times its $10.5 million dollar budget, and Airplane! (1980), which brought in 23.8 times its $3.5 million budget, you’d be hard pressed to find one.

The Great Ziegfeld is a spectacle which has some substance, though you may need to find it upon occasion. A bit on the long side (just over three hours, including the Overture and Exit Music), it is still a worthy member of the best that Oscar has to offer.

4 (out of 5)

YOU’VE GOT MAIL (1998)

In Comedy, Motion Pictures, Romance, Uncategorized, Y on May 16, 2010 at 7:17 pm

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STUDIO — Warner Bros.

CAST — Tom Hanks, Meg Ryan, Jean Stapleton, Dave Chappelle, Parker Posey, Greg Kinnear, Steve Zahn, Dabney Coleman

DIRECTOR — Nora Ephron

MPAA Rating: PG

Dear Friend–

So far, it has been an intriguing month of viewing and reviewing movies, including three of them with the same premise. I’m not sure how to put this, but having that sense of déjà vu while watching a movie is so unsettling, yet so entertaining at the same time. So, how should I approach this review? I’m sure I’ll figure something out…

Welcome to the conclusion of this three-part review, in which I have taken a journey spanning nearly 60 years, to look at three different movies based on the same story. I began with Jimmy Stewart’s The Shop Around the Corner, followed by the Judy Garland musical In the Good Old Summertime. Now, we have reached the end of our journey, with You’ve Got Mail, starring Tom Hanks and Meg Ryan, only this time they aren’t co-workers; they are business rivals.

Joe Fox (Tom Hanks) tells Kathleen Kelly (Meg Ryan) what he thinks of her "inconsequential" book store

Tom Hanks plays Joe Fox, heir apparent to the monolithic Fox & Sons Books store chain. Meg Ryan is Kathleen Kelly, owner/proprietor of a children’s book store called The Shop Around the Corner (a nod to the original movie). Kathleen’s book store was started up by her mother, and it was a fixture in Manhattan for 42 years. When Fox Books moves in to open a store (literally) just around the corner, she is initially confident that her little store will continue (though we can all tell she is in denial). One day, a gentleman with two small children enter her store (the kids wanted to see the Storybook Lady) and he strikes up a conversation with Kathleen, introducing himself simply as “Joe”. Later, at a party, they bump into each either again, only this time she finds out second-hand that “Joe” is really Joe Fox of Fox Books. Let the battle begin!

Now, the funny thing is that both Joe Fox and Kathleen Kelly have significants other (Parker Posey and Greg Kinnear, respectively) whose behaviors and habits are infuriating: Joe tells his friend Kevin (Dave Chapelle) that Patricia (Posey) “makes coffee nervous”, while Kathleen thinks Frank’s (Kinnear) fascination with typewriters borders on obsession. But, they both also have been secretly exchanging e-mails with someone they met online, and they both find themselves becoming more and more fascinated with their respective anonymous friend. But there is a catch: Joe and Kathleen’s online friends are each other.

You’ve Got Mail is the second movie starring Hanks and Ryan that was directed by Nora Ephron (and their third, overall). On the up side, Hanks and Ryan work well together. Even at the peak of their conflict, you can still see the two characters ending up together. Meanwhile, the themes of large corporations squeezing out local businesses and of meeting someone online were very real concepts in the late 1990s. I used to live in a town which had numerous busy shops downtown, selling everything from CDs and TVs, to rugs and vacuums. When a “big-box” store (I won’t say which) decided to move into a new (and much larger) location in town, many of the stores downtown (and even in the local mall) were forced to close their doors because they couldn’t compete with the low prices the “big-box” store had. Meanwhile the Internet was still somewhat a novelty during this time, and chat rooms, bulletin boards, and discussion forums were popping up everywhere. Suddenly, a man in Columbus, Georgia, could strike up a conversation with a woman in Hilo, Hawaii, without the expense of travel or long-distance phone calls. At the time You’ve Got Mail was released, these were contemporary concepts.

But times change. Today, with the economic slide of the past few years, small business has been making a comeback, and large companies have been pink-slipping their collective workforce. Meanwhile, the Internet has changed, too. America Online (from whom the title of this movie was inspired) is no longer an Internet service provider; it is now an Internet portal, free to everyone. And there are other avenues available today. With text messaging, instant messaging, Internet access on phones and other portable devices, and dating sites like eHarmony and Match.com, it is now unlikely you will “meet” someone online without ever knowing what they look like until you meet them face-to-face.

You’ve Got Mail feels like The Shop Around the Corner meets Sleepless in Seattle. This isn’t necessarily bad, but it does share several elements with the Sleepless formula. It stars Hanks and Ryan, it’s directed (and co-written) by Ephron, and it’s about people fascinated with someone they’ve never met. And in both movies, Meg Ryan’s character has a boyfriend with whom she breaks up amicably (Here, Kinnear assumes the reins of Bill Pullman’s role from Sleepless).

Now, it’s time to give you a really great piece of trivia: All three of the movies in this series of reviews has a connection to The Wizard of Oz. The store owner in The Shop Around the Corner was played by Frank Morgan (The Wonderful Wizard himself), In the Good Old Summertime starred Judy Garland (duh!), and the final scene of You’ve Got Mail featured the song “Over the Rainbow”. Ah, the things you pick up while working on this ongoing project…

I saw this movie while on a date in early 1999, during its initial release. While it played a small part in what would develop into one of the better relationships I have forged in my life, I look back on it today with a fresh pair of eyes, and some of the luster seems to have worn off to me. Don’t misunderstand me. I still feel it is an entertaining movie, but just over a decade later, it already feels a bit dated. The charm of Hanks and Ryan does manage to rise above that, but I would prefer either Sleepless in Seattle or the original (The Shop Around the Corner) instead.