Showing posts with label True Grit. Show all posts
Showing posts with label True Grit. Show all posts

Friday, March 16, 2012

True Grit and My Problem with The Duke

Why have I always had such an aversion to John Wayne films? Enough people liked him to name an airport after him in Orange County.

This week I borrowed the original True Grit from of the library in an attempt to get clarification on this issue. For some reason, he was loved, even adored by the American public. Yet when I look at him as an actor, he is so weak it is embarrassing, at least by today’s standards. In recent years the few times I’ve watched him he comes across as a caricature of himself? Am I being too harsh? So that past couple evenings I watched The Duke to see if his Oscar-winning performance in True Grit would change my mind.

At the outset, the directing seems exceptionally weak. Director Henry Hathaway allows actors to remain stilted when not delivering lines. But that’s not a crime against Mr. Wayne.

It’s Rooster Cogburn here, on the witness. Sounds just like John Wayne. He’s a bit crotchety and likable. Sort of. Now he’s having to deal with the girl. He tries to sound tough, but gosh, he just seems so amiably boisterous. She’s determined, and it’s a Western and she’s jabbering to get Mr. Cogburn involved in her case, and… well, that was easy.

It’s not an altogether original malady to be a caricature of oneself. Clint Eastwood has a certain Clint persona in most, if not all, of his films. Tom Cruise played a lot of roles that suited him, but has demonstrated a measure of range at times.

So, we’re 34 minutes in and John Wayne is just being himself. Glen Campbell has revealed he’s no actor either. All the lines are delivered in such a stilted manner I can hardly wait to be done with this masterpiece.

Rooster Cogburn is supposedly a drunken, hard-nosed U.S. Marshal, but as cantankerous as he carries himself, he still comes across as a softy. Here’s Kim Darby laying down the law with Cogburn, signing him up with a handful of green and a contract. And so it goes….

It’s dawning on me exactly what it is that made people go to theaters to see The Duke. When you invest time with a film, you’re moving into a relationship with a group of characters. The Duke was a guy who was easy to hang around with. “They say he has grit. I wanted a man with grit,” Kim Darby says. But the audience knows he’s just having fun.

The director in this 1969 film, Henry Hathaway, was born Marquis Henri Leonard de Fiennes. In keeping with Hollywood habits of nom de plumes, he must have had his reasons, as did Mr. Wayne who was born Marion Morrison. In the same year Sam Peckinpaugh released The Wild Bunch (a Western), Dustin Hoffman and John Voigt outperformed the world with Midnight Cowboy (a different kind of cowboy movie), and Newman and Redford teamed up to give us Butch Cassidy and the Sundance Kid (yet another kind of Western), we find True Grit dropped into our laps. Cowboy themes were hot. Paint Your Wagon, a Western musical, came out that year, too. Of the bunch, well, this film just feels so limp in comparison to any of them.

At this point I’m half-way through the flick and I realize my problem. I thought it was supposed to be acting, but The Duke is just having fun being a character. You can see it in the way he’s interrogating those two men they smoked out of the cabin. He’s delivering his tough guy lines and the whole crew is on the verge of cracking up. And the audience is lapping it up as well.

Now here’s another scene shot in a fake outdoor setting that must have been filmed in a studio. Fake clouds, fake sky, and the dialogue sounds recorded indoors as well. Would Brad Pitt put himself in a role like this? DeNiro? Ed Harris? (OK, was in a fake outdoors scene in Hoffa, and it stood out like Ronald McDonald in a gorilla cage at the zoo. Truman Show, too, had a fake sky over a fake town, but that was its schtick.)

Well, lookie here, its Robert Duvall as Lucky Ned Pepper, on his way to the big time. It won't be long before he's adopted into the Corleone family.

Enough's enough. I won't spoil the end though most of you know how it goes... Hopefully I don't come across too harsh here. Making movies back then was a different game. How he'd fare in today's environment of hyped expectations I don't really know. What do you think?

Meantime, it's a weekend coming up and a nice one at that. Get outside and breathe a little fresh air if you can. You might also want to visit an art gallery or two. There are at least three in Canal Park, and there's also a nice hideaway in Carlton called Art Dimensions, which doubles as a rest stop for bicycle enthusiasts on the Munger Trail. Carlton Bike Rental is there in the event you want to do some biking yourself. (They also do repairs.)

In other news... the Limbo Gallery has announced its pairings for the Artist Kamikaze IV. The theme will be INTERGALACTIC. Artist Kamikaze IV will be on display at Pizza Luce during the month of June this year. Details to come.

Saturday, June 18, 2011

True Grit and Other Mysteries

Last weekend the Sound Unseen Duluth International Film Festival finished off its second season here in the Northland. On Sunday the weather was too nice for being inside a theater, yet I made the theater my home for one more afternoon and evening, catching half of a Greek film called Attenberg, most of Woody Allen's Midnight in Paris, and Monte Hellman's Road to Nowhere. Then, to top off, when I got home I balanced our checkbook and did paperwork while watching the Coen Brothers' True Grit.

Here's a quick summary of impressions.

Attenberg
The critics raved and I was told this was a must see. Supposedly Greece is counting on this one to bring home an Oscar next year for Best Foreign Film. It's an off-beat coming of age film and I guess I wasn't getting into it and slipped back over to Midnight In Paris where I'd watched the first ten minutes which strengthened my desire to see more.

Midnight In Paris
Woody Allen, despite whatever personal issues one has against him, is still a master story teller and screen writer. The dialogue here is wonderful and the story magical. In fact, that's exactly what it is.

Owen Wilson (Gil) and Machel McAdams (Inez) are engaged to be married. They go to Paris with her rich parents and Gil, a writer, falls in love with the aura of Parisian history, impressed by all the great people and places memorialized there. Through some quirk Gil experiences more than the charm of present-day Paris. He ends up being transported back in time to the Twenties of Gertrude Stein, Picasso, Hemingway, Dali and the surrealists. It's heady stuff for Gil, especially when he begins to fall in love with someone there.

I don't want to spoil it for you, so just know that this film is witty and fun.

Road To Nowhere
The movie is about the making of a movie about a murder and a missing fortune. The director, for the sake of accuracy, is filming this film in the same places the actual crime took place. It is sometimes difficult to decipher what is real and what is not, and because I missed one clue in the early part of the film I kept asking myself how a certain key part of the movie came to be.

There were echoes of Chinatown in it for me, but this film was nowhere near the masterpiece Roman Polanski assembled starring Jack Nicholson and Faye Dunaway. But it held together for me and had some nice moments.

True Grit
The title is good. Who's the character with true grit? This remake of the John Wayne classic has Jeff Bridges in the feature role of Rooster Cogburn. Matt Damon replaces Glen "he-never-shoulda-been-cast" Campbell as LaBoeuf (The Beef) and Hailee Steinfeld as the gritty Mattie Ross.

I've been waiting six months to see this film so I for one was glad when it was finally released into Blockbuster. Bridges got an Oscar nom for this role, the Duke's last hurrah, I believe. Since I was never a real John Wayne fan to begin with, I would have bet money that this re-make for once would be better than the original. That being said, I do have one complaint about it.

First, the good stuff. It wasn't till I started writing this up that I realized that Matt Damon was in the film. I mean, LaBoeuf was a great character in this version of the story, and a guy who did show true grit. I was half wondering who the actor was but not enough to go check, I guess. Damon is certainly good. And so was Jeff Bridges as that grizzled veteran gunfighter with a lot of tough bark on him.

I guess all the big chatter was about how great a young actress Hailee Steinfeld was. She was fine and I'm sure that being coached by the Coen brothers and working with stars like Damon and Bridges will have a beneficial impact on her future, if she manages to keep it all in perspective.

Now, my own beef. Personally, I disliked the stilted manner in which the characters talked. The diction frequently struck me as unnatural. I am sure the director had his reasons for going that route, maybe imagining that people 120 years ago were more formal in their speech, but I don't reckon I quite agree with that notion.

It's a small complaint, and it didn't ruin the film for me. I just needed to make the point.

Meantime, better get outside and enjoy the weekend.

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