Saturday, February 29, 2020
A Note on SUSPICION (1941)
I'm continuing my big Cary Grant rewatch, and tonight I caught up with SUSPICION. Something occurred to me as I watched it that I wanted to make note of.
Before I get to that, it's important to say that one of the reasons that Grant has come to pretty much embody the idea of Movie Star for a lot of people is that he managed to play a range of roles while always staying Cary Grant.
For instance: look at him in THE AWFUL TRUTH (1937), HOLIDAY (1938), and BRINGING UP BABY (1938). Three romantic comedies released within the space of two years, and yet Grant is playing very different characters--a blithe ladies man in the first, a guileless idealist in the second, and a befuddled professor in the third--and yet two things are true. 1) He plays each role differently, and 2) Each performance fits within the persona we understand to be "Cary Grant." He could play many different variations on that persona.
Which brings us back to SUSPICION. This film is famous for being a 'nearly great' movie that was sabotaged when the studio made Hitchcock change the ending. The film concerns a shy young woman (played by everyone's shy young woman Joan Fontaine) who meets and marries a handsome rake, played, of course, by Cary Grant. As the film progresses, Fontaine and the audience start to suspect that Grant is more than just irresponsible and loose with money. We start to worry that he might be dangerous. We start to worry that he might even want to murder his wife. 1941 Spoiler Alert: in the original conception of the film, Grant was indeed the killer, and Hitchcock devised a wickedly smart finale in which the lovesick Fontaine lets Grant murder her but tricks him into mailing a letter to the police in which she fingers him for the killing. (You can see this idea being set up in the movie's opening moments when there is much ado about Grant borrowing some stamps from Fontaine.) In the revised ending, however, Grant turns out NOT to be the dangerous man that the rest of the film has painstakiningly prepared us for him to be.
Opinions differ as to how much the new ending was the result of studio interference and how much was Hitchcock. Either way, Hitch would openly lament the revised ending, and just about everyone who sees the movie agrees. Grant should have been the bad guy. My feeling is that if Hitchcock had gone ahead and kept the original ending (it was never filmed), SUSPICION would certainly rank as one of Cary Grant's finest performances, and might even be considered his pinnacle.
He's charming but cold, smooth but scary. He's a villain, but he's still somehow Cary Grant. What's interesting is that the ending was rewritten because, the thinking went, "Cary Grant can't be the bad guy." In other words, Cary Grant can be dashing, heroic, comic, goofy, innocent, or sophisticated, but he can't be evil. The great loss of SUSPICION is that the movie itself shows the opposite. His performance here is sheer Cary Grant. You see what she sees in him. Of course you can. After all, he's Cary Grant. And yet as the film goes on, you start to dread him, first because he's such a liar and a sneak, and then as the film progresses, because he seems like he's hiding even darker secrets.
In the fifties, stars like Wayne, Bogart, Stewart, and Cooper all played darker variations on their basic screen personas. Grant really didn't. And, tellingly, he was a marquee romantic leading man longer than anyone else. People just seemed to want him to keep being Cary Grant. So he did. It was good business and a legendary career.
But SUSPICION shows that, if he'd wanted, he could have played a much darker variation on that same persona. This a flawed film, but it contains fascinating hints of what might have been.
Thursday, February 27, 2020
The HOLIDAY Handspring: A Lesson in Grace from Cary Grant
I'm in the middle of a big Cary Grant rewatch right now, and last night I caught up with HOLIDAY (1938). I first saw this movie about twenty years ago, and while I liked it well enough back then, I think I was vaguely disappointed that it didn't reach the never to be reached heights of insanity in BRINGING UP BABY (released that same year). With age sometimes comes wisdom, though, and watching this film again I'm floored by its gentle sweetness and light comic touch. (That's George Cukor finding the perfect pitch for everything, I think.)
There's so much to praise here, from the deft comic turns of Grant and Hepburn and the wonderful supporting performances of Edward Everett Horton, Jean Dixon, and Lew Ayres. What I really wanted to talk about with this little post, though, is Cary Grant's flipping.
In this movie he does some impressive gymnastics. Now, while some bits like the final backflip at the film's climax have been edited in such a way to make me think that it's someone else performing the stunt, other stunts like the handspring shown above, are clearly Grant himself.
Grant honed these skills while performing with an acrobatic troop in his youth. His handspring is all the more impressive for the fact that he uses one hand to keep his hat on as he goes over and then plants the landing with a wink and a flourish of charm. Charm, of course, is what we so often talk about when we talk about Cary Grant.
But what we should also talk about is his grace, and this movie gives us a perfect example of his grace to discuss. I don't mean the flip itself. I mean the fact that he didn't do this all the time. Most actors, if they could have done these kinds of gymnastics, would have done them in every movie. They would have turned this acrobatic skill set into a gimmick and then run it into the ground. After all, turning inspiration into gimmickry and then depleting its power through repetition is what Hollywood has always done.
But Grant knew better than to run his acrobatic prowess into the ground. He saved it like a special gift for his audience, something he could break out once he found a perfect showcase for it. Since I haven't seen the entirety of his filmography I can't say for sure if he ever did these kind of gymnastics in another film. Perhaps he did. What I can say for sure is that he doesn't do it in any of the dozens of films of his that I've seen, which includes all the films for which he's best known. Which means that for all intents and purposes, HOLIDAY is the one film where you can see Grant doing his flips. He saved this trick for the right role in the right film. Then, he retired it, and glided away to the next role.
Sunday, February 9, 2020
MARY MAGDALENE and the Jesus Movie
I was on Twitter pontificating about Joaquin Phoenix's probable Oscar win tonight for his performance as Joker. I argued that the actor's best performance last year was as Jesus in Garth Davis's MARY MAGDALENE. (The film was released first overseas in 2018 and then had a brief limited run in the US last year.) Someone asked me if the movie itself was any good. In trying to answer that question, I started to reflect on the genre it belongs to, that subgenre of the biblical epic, the Jesus movie.
MARY MAGDALENE is an interesting addition to the corpus of Jesus movies. All Jesus movies have a different theological focus. This reflects (probably unintentionally) the way we receive the original story of Christ in the New Testament.
A digression: If you read the Christian Bible as a unified work, the break between the old and new testaments is a shocking transition. After the OT collection of myth, poetry, law, and history, we suddenly transition into four different takes on one story--a multi-fractured narrative biography of Christ. Why the different perspectives? Even among the three synoptic Gospels there's a striking difference in style (the critic Harold Bloom once said that with its emphasis on demonic possession and dark forebodings the Gospel of Mark read like something written by Edgar Allan Poe), and that's before you even get to the epic Gospel of John, which takes things in radically different cosmological and Christological directions.
All of which is a way of saying that the story of Jesus has been open to varied interpretation from the beginning. On film, his story has been told regularly since the earliest days of silent movies, starting with George Melies's short CHRIST WALKING ON WATER in 1899. In fact, the first MARY MAGDALENE film (at least I think it was the first) was released as far back as 1914.
Making a film about Christ isn't simply a matter of assembling a collection of his greatest hits (of both the rhetorical and miraculous variety) and topping it off with the death and resurrection. A film about Christ has to stake out its own distinct theological point of view. What is the story this particular filmmaker wants to tell about Jesus? What's important about this story? What's less important? What's the final message of this story?
Something like Mel Gibson's PASSION OF THE CHRIST is a good example of what I mean. Gibson made the first fundamentalist Christian movie about Christ. He stripped the story down to one message: Christ took our much deserved punishment upon himself. Gibson hammers this message relentlessly for two hours. Christ suffered and died for us, and that is why we owe him our allegiance. Nothing else he said or did--the other 90% of the story of the Gospels--is important. And this message perfectly captures a fundamentalist understanding of the story of Christ. As a Southern Baptist, I heard this message preached three times a week every week, 52 weeks a year.
There are other good examples of what I mean. Pier Pasolini's THE GOSPEL ACCORDING TO ST. MATTHEW casts Jesus as proto-Marxist, focusing on the way his message is directed toward the poor and downtrodden living under imperial rule. Scorsese's THE LAST TEMPTATION OF CHRIST uses the Gospel story as a meditation on the struggle between the spirit and the flesh. Because it gives itself wide leeway in telling this story, the result is probably the most psychologically dense Jesus movie ever made.
MARY MAGDALENE is unique in that it focuses on Christ's relationship with Mary Magdalene. It decenters the story, making Jesus the object rather than the subject of the film. This decentering has been done before, of course, most famously in BEN-HUR, where Jesus isn't much more than a Very Special Guest Star. (The Coen brothers' brilliant and generally underrated HAIL CESAR! has a lot of fun lampooning BEN-HUR'S hamfisted attempts at big budget piety.) What makes MARY MAGDALENE unique is the way it shifts the focus to Mary Magdalene, arguing that she was Christ's primary disciple, the holy woman to his holy man, and that their message was rooted in a sense of liberation that might best be described as feminist.
There are so many ways this could go wrong, and doubtless some viewers will reject the film outright just on the basis of that description, just on the basis of the word feminist itself. And yet, it must be said that the film's primary strength is that it is a serious, even pious work, one that actually tries to wrestle with the notion that the core of Christ's message was a shattering of traditional hierarchies. It deals with one element that every serious consideration of Christ must deal with, the fact that his message was never fully understood by his disciples and followers, and that according to the Gospels themselves, this was by design, that Christ kept his own counsel. In this film, Mary is the one who wrestles with it the most, the one who comes to the best understanding of Christ's earthly mission.
As Mary, Rooney Mara is quite good, emotional but contained. She anchors the movie. But every Jesus movie, even the ones that decenter him, are about their Jesus, which brings us back around to Joaquin Phoenix.
I didn't love or hate JOKER. I thought it was okay. I thought Phoenix, fearless performer that he is, did what he had to do, but I also don't think there was anything terribly surprising about his performance. To hear that Joaquin Phoenix is playing a guy with mental health issues who descends into madness and becomes the Joker is to pretty much have already seen his performance. He plays crazy. He plays it with absolute commitment, but he's kind of just playing crazy.*
As Jesus, however, Phoenix is offbeat and unpredictable. He plays Christ as a mystic, not as tortured as Willem Defoe in LAST TEMPTATION but similarly haunted and unsure of himself. He's not the smug know-it-all that we sometimes get from the onscreen Jesus, the guy who already knows the answer and is just making the rest of us guess. Phoenix's Christ is a man coming to the dawning realization that he is also god, that he is communing with the spirit world in a way that no one else ever has. His relationship with Mara's Mary is chaste in large part because they've both transcended the body, with him showing her the way to a larger understanding of human existence and with her taking that message and trying to apply it to the real world.
If Phoenix wins the Oscar tonight, good for him. He's one of the best actors we have, so I'll be happy for him. But his best performance last year wasn't as the Clown Prince of Crime but as the King of Kings.
*I can't remember the episode but the podcast Keep It recently did a good job articulating this same idea about Phoenix's performance in JOKER.
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