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Tag: “Give ’em Hell Harry”

January 24, 2013

“Wait Until Dark”‏

“Wait Until Dark” out-Hitchcocks Hitchcock,
this is not an unremarkable feat
 
the director, Terence Young, had already
managed the early James Bond films,
“Goldfinger“, and so had already
achieved noteworthy experience,
not to mention acclaim
 
here he delivers perhaps the most satisfying
suspense film ever
 
Audrey Hepburn is again more than luminous,
she claims again, following so many impeccable
performances, her inviolable spot as a veritable
legend and immortal goddess of art, though she
loses again the Oscar, this time to the other
incandescent Hepburn   
 
she chooses all her own clothes for the movie,
incidentally, in Paris
 
 
Alan Arkin has been equalled only recently, to
my mind, as a villain, by Heath Ledger‘s Joker
in “The Dark Knight“, a much less convincing,
however, movie, Richard Widmark was pretty
nasty too, come to think of it, in 1946’s “Kiss
 
when quizzed on why he didn’t get a nomination,
one, one would think, he should’ve had in the
bag, he replied, “You don’t get nominated for
being mean to Audrey Hepburn!” 
 
gotcha
 
or touché, as we say in French
 
 
you’ll notice that the entire movie takes place
in one setting, a restriction imposed by the
fact of being originally a play, which must
abide such constraints, see “Give ’em Hell,
Harry”
 
however, having been raised in French I fully
subscribe to the Classical imperatives of unity
of time, unity of place, unity of action, which
this play delivers in spades   
 
the impositions, when masterfully maneuvered,
deliver entertainment of an even more impressive
order, see “Who’s Afraid of Virginia Woolf?” for
another celebrated such instance 
 
 
when “Wait Until Dark” was first screened lights  
were darkened “to the legal limit” during the
climactic scene
 
even in your well-lit viewing room, even over
forty years on, think of it, you’ll still need to
hold onto your seat, pacemaker 
 
 
Henry Mancini, however unlikely here, though
not especially ineffectively, does the music  
 
in the last scene he’s heartstoppingly hot
 
 
enjoy
 
 
Richard
 
 
 
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January 23, 2013

“Give ’em Hell, Harry”- Beethoven piano sonata no 18 – “Truman”‏

up until very recently I’d never heard of either
the movie, or the play, “Give ’em Hell, Harry“,
or that its lead in this production, James 
Whitmore, had been nominated for an Oscar
for his performance in it, he lost out to Jack   
Nest“, you decide  
  
“Give ’em Hell, Harry“, the movie, turns out to
be a filming of the play, an evocation of Harry
Truman, at a performance one evening in 1973
during its run at the Moore Theater in Seattle,
we are watching an actual play, audience and
all, it is riveting
 
it is a one-man show, an unforgettable experience
when the performer is up to it, James Whitmore 
is eminently up to it, delivering a towering
performance, every inch his President
 
after a brief introductory set of thoughtfully
considered sentences, precisely and decisively
articulated, much like Beethoven’s propositions,
incidentally, at the start of many a sonata, he
starts in at a clip, which, again in the same
Beethovenian manner, will never let up, except 
for at a moment of tenderer reflection when he
slows to an andante, a moderate pace, to maybe
even an andantino, a bit slower than moderate,
but never to an adagio
 
more like a constant allegro, fast, or often even
like a presto, swiftly, like the very wind 
 
Beethoven does the same especially in his Middle
Period when he’s full of fire, not impeded by 
earlier questions of unmastered technique, nor
later subdued by his progressive disillusion
with life 
 
you heard the Middle Period fire, in his 15th 
again not a single adagio – nor, you’ll note by the
opus numbers, very far behind – a less convincing
sonata for me for not as assuredly engaging as
well as my admiration my heart, but which 
nevertheless must be considered of the very
highest order  
 
in the spirit of music as narrative, a spirit as I’ve
suggested Beethoven had been evoking, let me 
propose that, were the association with music
pursued here I would liken this play to a set of
musical variations, a series of takes on a subject 
that elaborate a central notion, here, of course,
that of Harry Truman, the President
 
to note that a sonata is also a one-person
performance does much to acquaint these
two at first glance unacquainted arts, allowing
each of these several consummate artists here,
in the 15th, in the 18th, and in “…Harry“, to
deliver resounding bravura performances
 
notice also, incidentally, the similar joy in each
his enraptured countenance
  
 
Richard   
 
psst: here’s “Truman“, a more detailed account
          of the not often recollected man, at least
          not outside America, in a not at all
          undistinguished production  
 
          it is no longer necessary, of couse, to
          italicize the Italianate tempo markings,
          but for me it makes the letters dance 
 
 
 
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