scene project take 17...

To Kill a Mockingbird (1962)









To Kill a Mockingbird ranks among the most perfectly made films in all categories. First of all, it's one of the most faithful book adaptations that even had a thumbs up from the author, Harper Lee. And everything else about it rings so true, even almost 40 years later: pitch-perfect casting, beautiful cinematography and direction, absolutely timeless musical score, compelling story, rich characters, memorable opening and closing sequences, the great Kim Stanley as the film's narrator and on and on. It is a true American classic.

This is the most memorable moment for myself and I'm sure for many others. Atticus Finch (Gregory Peck) has just lost his noble battle in defending Tom Robinson (Brock Peters), a young black man accused of beating and raping a young white woman. It's a devastating blow in a case where he was clearly innocent. In this moment, Atticus is collecting his things and getting ready to leave. Everyone has exited the courthouse except for the black spectators (and Atticus' children, Jem and Scout) who are forced to sit in the stifling balcony. As he is preparing to leave, every one of them stands up to show their respect, admiration, appreciation, whatever you want to call it, for his great efforts. Reverend Sykes (Bill Walker) notices Scout is sitting down and he says, "Jean Louise. Jean Louise, stand up. Your father's passing." It's a scene that could have been overblown or overly sentimental. Instead, it's a quiet and brief, yet powerful moment when the people in the balcony show their respect for this man of justice and grace, and then go on with their day. There are no teary close-ups of Atticus, no hysteric shouting of gratitude, no over-the-top musical cues, just a realistic display of gratitude - and it's all the more powerful for it.

If you have not seen this film, please do yourself a favor and check it out. And on a lighter note, this movie may have the best character names ever thought up: Scout, Atticus, Jem, Dill, Boo, Calpurnia, Mayella, etc.

headin' down the runway like a man possessed...

Nanci Griffith Wednesday y'all!

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This is a terrific and actually tragic song written by Richard Dobson that tells the true story of a motorcycle stuntman who was killed attempting a new stunt. It's interesting because Nanci is smiling through the entire tune:) I guess she's trying to lighten the mood! Anyway, Nanci is backed by some pretty incredible musicians including Roy Husky, Jr. and Mark O'Connor and they are all in top form. The album version of this song is actually much different than this - it's a more rocking version with Phillip Donnelly offering an amazing electric guitar solo. But I really love this more roots/acoustic version as well.

I make a living playing these songs
and I hang out in bars
I play my guitar
Oh but honey I don't jump over cars

scene project take 16...

Judy Berlin (1999) - Madeline Kahn








Madeline Kahn. What could I possibly say about this incredible woman that hasn't been said already? Certainly one of the finest film comediennes ever to grace our screens. She had impeccable timing and a delivery that can never be matched. She could make ANY line funny or memorable...and I mean any line. ("I'm coming in!" Anyone?) One of the things that makes her stand out above the rest is her uncanny knack of making all of her characters have a soul that you cared about. Her most well-known characters: Lili Von Schtupp, Trixie Delight, Elizabeth, Eunice Burns, could have all easily become cartoon characters in someone else's hands. And though they certainly are outrageous and silly, Madeline had a talent for (similar to Judy Holliday) in really humanizing them into real people. The best example of this is probably Trixie Delight from Paper Moon which I will explain in a later post.

Judy Berlin was to be Madeline's final film before succumbing to ovarian cancer at the young age of 57. It is a brilliant swan song to a truly unique career. Alice Gold, her character, is an odd and troubled woman who is struggling with her relationships with both her husband and son. In this scene, she is roaming the streets of Babylon, New York during a long-lasting eclipse. At one point she runs into her what seems to be her psychologist. He seems concerned, almost afraid about how long the eclipse is lasting and Alice assures him everything will be alright. She jokingly states that in a crisis, she is actually very calm because then she and the world are finally speaking the same language.

She then has a touching little monologue about her husband Arthur (Bob Dishy) and how he once got up in the middle of the night to get a glass of water "and without asking, he got one for me. Without, without asking." Finally, she meets Arthur in front of their home and they have a beautiful and wordless moment that actually conveys volumes. They have a sort of apology and forgiveness moment for something that occurred earlier in the film. It's not actually completely wordless - in his moment of apology Arthur simply says "Hello" and this simple gesture is all Alice needed to hear and she replies back "Hello" with a hint of a smile. It's kind of a difficult moment to describe but it is wonderfully executed.

This is one of Madeline's greatest performances. She is very funny as always, but she also has an even more noticable depth that only grows with each viewing. Honestly, everytime I watch this I discover something new that she has done. For being largely known as a comedic actress in slapstick/toilet humor heavy films (I'm talking to you, Mel Brooks and I love you for it!), her subtlety can be astounding.

Madeline Kahn is absolutely a personal heroine for me and one who I am constantly talking about or quoting. ("Flames on the side of my face!") She was a great loss to both the film and theater community and I often wonder what she would be up to now. I really think that her work in Judy Berlin could have taken her career in a different direction and opened her up for more varied and demanding projects. I guess we'll never know. But I thank her wholeheartedly for sharing her gift with us in her many films. I read a quote from her once which I must paraphrase, she said, "I may be in trash sometimes, but I never treat is as such - never." And it's true, the lady was a true class act. Thank you Ms. Kahn!

i work this corner from eleven to five...

Nanci Griffith Wednesday!

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Here is Nanci at her most lyrically playful - singing from the point-of-view of a New York prostitute! She is clearly having a ball with this catchy number - I'm surprised this doesn't get covered more often. Her voice is wonderful here also - complete with her lovely growl:) It's interesting how her voice can be so delicate and feminine and at the same time so strong and fierce.

My personal favorite lyric:

This sidewalk ice is cold as steel
I'm not Dorothy, I can't click my heels
One of these days I'll move to LA
Where the nights stay warm and the boys come out to play

Nanci often incorporates New York into her songs - There's a Light Beyond These Woods, One Of These Days, Going Back To Georgia, Before (One day I was listening to Before on my ipod and when the lyric, It was snowing down on Bleecker Street came on, I realized I was walking down Bleecker Street and I couldn't help but smile) just to name a few. Perhaps because she was once going to move there, but was detoured to Nashville and there she stayed. I wonder how different her career would have been otherwise.

scene project take 15...

Torch Singer (1933) - Claudette Colbert






Claudette returns!
Torch Singer is a little known film that centers on Colbert having to give up her young daughter for adoption because she doesn't have the money to support her; and her subsequent struggle with that decision. This is a pre-Code film which are always fun to watch - Claudette wasn't married when she gets pregnant:O If this would have happened in a film made after 1934, either she or her baby would have probably died or she would have gone on to live a horrible, sad life.

Anyway, this is an early scene before she gives the little girl up and she is giving her and her roommate's son a bath. The reason I chose this scene is because it is a wonderful example of Colbert's gift with children on screen. Perhaps the images don't quite convey that, but you can kind of get the idea. Colbert is my favorite screen mother of all time - no matter what film she's in with kids. She has this amazing ability to really react honestly to whatever unrehearsed actions or words they might present her with. For instance, in that second shot, the little boy reached up and put his hand on her mouth - and she kissed his little hand as if it had been rehearsed. Obviously you can't have a baby do that on cue, so I'm sure it was completely spontaneous. She really knew how to be affectionate with a child in a way that was absolutely believable and tender.

This gift of Colbert's wouldn't be all that spectacular except for the fact that she herself never had any children. And yet time and again, her compassion and maternal warmth for her onscreen children was always palpable. In fact, whenever she would embrace her young child or comfort them, you really feel like she is embracing/comforting you. That may sound crazy, but I tell you it's true.

And I adore that final shot of her smiling at the proud young boy:)

scene project take 14...

Wit (2001) - Eileen Atkins







Wit is one of my go-to movies whenever I can't decide on anything else. It is supremely satisfying in the brilliant acting, writing, directing, music, balance between humor and drama, etc. I think Emma Thompson gives a master class in acting that should be studied by every would-be film actor. The story revolves around Vivian Bearing, a college professor of English literature who has stage 4 ovarian cancer and is an inpatient going through several rounds of chemotherapy.

In this scene, she is visited by her former professor and mentor Evelyn Ashford (Eileen Atkins). There is an earlier flashback scene with Professor Ashford that shows the root of Vivian's admiration of poet John Donne.

Here, Evelyn visits Vivian in the hospital during her final days. Vivian is barely concious but is clearly moved by Evelyn's appearance. Evelyn reads a children's book, The Runaway Bunny, to Vivian in an effort to comfort her (she has just purchased the book for her great-grandson). The tenderness in this moment is almost overwhelming. Vivian has received absolutely no visitors during her long stay in the hospital and Evelyn seems to be the only person Vivian has an affection for in her life. There is also a glorious piano ballad playing over this entire scene which perfectly underscores the mood. And then when Evelyn is leaving, she leans down to kiss Vivian's forehead and says, "And flights of angels sing thee to thy rest." The scene title on the DVD is Permission to Die which is exactly what Evelyn does here.

Eileen Atkins is brilliant in this moment largely because she is absolutely without melodrama in a scene that could easily drown in bathos in the wrong hands. She plays just the right notes (right along side the piano score) and not a word or a gesture is wasted. When she leaves Vivian's room, you really sense that this is the end - Evelyn has in a sense given Vivian her last rites and it's "time to go." An absolutely perfect film moment...check it out!

This is the Donne poem that is often cited throughout the film:

DEATH be not proud, though some have called thee
Mighty and dreadfull, for, thou art not so,
For, those, whom thou think'st, thou dost overthrow,
Die not, poore death, nor yet canst thou kill me.
From rest and sleepe, which but thy pictures bee,
Much pleasure, then from thee, much more must flow,
And soonest our best men with thee doe goe,
Rest of their bones, and soules deliverie.
Thou art slave to Fate, Chance, kings, and desperate men,
And dost with poyson, warre, and sicknesse dwell,
And poppie, or charmes can make us sleepe as well,
And better then thy stroake; why swell'st thou then;
One short sleepe past, wee wake eternally,
And death shall be no more; death, thou shalt die.

answer only with your eyes...

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Nanci Griffith Wednesday!

So sorry that I missed last week, but I came home from work and went right to bed. But I have a really great one this time around.

This is Nanci singing with Emmylou Harris and Iris Dement on Are You Tired of Me Darlin? First of all, Nanci has another one of her sweet and humorous intros complete with brilliant comic timing in the line "And tonight, me, I'm Chet." Second of all, having Nanci, Emmylou and Iris singing on a song together is like pure musical transcendence in my opinion. The three of them hold 3 of the most unique and powerful voices out there and they blend together exquisitely. I really think they should consider doing a Trio album, a la Emmylou, Dolly Parton and Linda Ronstadt - and then take it on the road for all to enjoy:)

Enjoy! This is awesome!