Mary Tyler Moore, a paragon of excellence, died this week. I saw her on The Dick Van Dyke Show and later The Mary Tyler Moore Show, where she blossomed. Her work, comedy and drama, was high caliber, always high caliber. I miss that. She showed that you can entertain without stooping to the lowest common denominator. Above is an interview with another TV great, Johnny Carson.
Thanks to Eva, for sharing this clip of Mary on Sesame Street in Isreal. I love how approachable she is and how she’s able to connect with the girl and laugh at herself. The essence of good comedy.
Isn’t it nice to know she liked cheeseburgers and could laugh at herself.
Touching and true, Marguerite (2015) is set in France of the 1920s. The central character Marguerite loves music and supports her local music club lavishing funds on them with the one stipulation that she’s allowed to sing at various concerts. The film opens with such a concert that she hosts at her mansion. The musicians and young singer who opens the performance are top notch, but when Marguerite takes the stage glass cracks and you want to cover your ears. She has no idea what pitch is. Two cads from Paris who crash the event are delighted. Their twisted sensibilities find her the perfect means of satirizing the current art scene.
Yet no one — not her unfaithful husband, her duplicitous servant, the voice coach who’s desperate for money or her friends at the music club — will tell her the truth. Encouraged by the cads, Marguerite decides to sing publicly and while many know they should tell Marguerite that she can’t sing, no one can burst her bubble.
Listening to Marguerite’s screeching and seeing her tricked all the way to the rather sad ending isn’t easy but it is enjoyable enough. It was good for a long flight and the lead actress Catherine Frot made me sympathize with and like a character who would be easy to look down on.
The more I see Harold Lloyd, the more I love him and his films. In The Freshman Lloyd plays an young man also named Harold who saves up enough money to go to college. Once on campus, Harold’s main concern is getting popular by following the tricks he saw in a movie.
Instead of being the big man on campus he’s soon the butt of everyone’s jokes. His peers love putting him in awkward positions and taking advantage of him. He never catches a break as he inadvertently insults the dean, takes the dean’s car from the train station and makes wrong step after wrong step. The gags at the student assembly, the dance and the football field are priceless.
Jobyna Ralston plays the sweet love interest Peggy perfectly. Harold meets Peggy on a train and then it turns out that she’s the daughter of his landlady. Yes, it’s coincidental, but it’s a small town and she’s the one sincere woman in a sea of fakes.
I watched a Criterion Collection disc with the commentary, which I find adds to my appreciation of any silent film. I seem to need some talk.
A masterful comedy, The Freshmen is a film I can see watching again and again.
Masterpiece’s new drama, Victoria, stars Jenna Coleman as the famed British queen. Beginning when Victoria’s uncle dies and she changes her name from Alexandrina to use Victoria, her middle name, and she becomes the monarch.
From the start Jenna Coleman’s Victoria stands up for herself opposing the manipulative Sir John and her plotting uncle.
After two episodes, I’m drawn in and eager to see how Victoria handles her power and how she and Albert finally end up together. In episode two the focus is on the question of whom Victoria will marry. Her heart, she believes, belongs to Lord Melbourne, her prime minister whose wife ran off with Lord Byron, the poet. In the drama, he lets Victoria know that they can never be together.
The first episodes feature sumptuous costumes and settings. The story moves along nicely. There’s a B story focused on a maid, who’s hiding her past working in a bordello. I’m not sure where that’s going. The maid is elusive and stand offish with the cook, who tries to get to know her. That story hasn’t grabbed me, but perhaps in time, I’ll develop more of an interest.
Victoria has a different feel and tone than Downton Abbey or Poldark, so it shouldn’t be judged on their terms. In its own right it’s a fine drama.
Werner Herzog’s documentary Lo and Behold shows the history of the Internet and provides insights, some I’d heard and others I hadn’t, about the Internet’s growth and it’s effects.
I found the segment interviewing a man who had an alternative version of the Internet and the actual look at the earliest equipment and its presentation by a man who was one of the computer scientists who invented the Internet 1.0. Herzog interviews his subjects well asking all the questions I wanted to know and finding people whose contributions and work are crucial to technology today. I liked seeing the people behind the bytes and bits.
Lo and Behold would a good film for technology students, though you don’t need to be an insider to follow it.
Certified Copy intrigues and perplexes as it shows us a man, who’s a writer, and a woman, who’s an art dealer, who look at life and marriage in very different ways. I can’t say it tells a story because the film breaks with the fundamental conventions of storytelling. By the end, you’re unsure whether the characters are married or not. Most of what you’re told about them, about what they say about themselves, proves to be untrue or questionable.
Yet because the director switches things up as the woman, who’s unnamed, and James Miller, the hero, spend a day flirting and testing each other. Throughout the film I was intrigued and its one that still makes me think about life and films.
This trailer is misleading. It promises a flirtatious romance, but Certified Copy is a challenging look at expectations and relationships.
If you can’t take a film that plays with your mind, that gets curiouser and curiouser or deviates from the well worn path of story structure as set in stone by Hollywood, Certified Copy isn’t for you. But if you like to be intrigued or enjoy compelling performances, it just may be.
In rural Mississippi a local businessman, the most prosperous one in the city, is murdered. The first suspect is a black man waiting for a train. Who’s more vulnerable than an outsider with dark skin in the rural South in the early 1960’s? Thus there’s plenty of drama in In the Heat of the Night (1967).
Virgil Tibbs, played by Sidney Poitier, is waiting for his train. He’s brought in to the station and treated like the prime suspect till the police chief (Rod Steiger) learns that Tibbs is a leading homicide detective in Philadelphia. As much as it bugs the chief, he realizes that his force can’t solve the murder. They just don’t have Tibbs’ expertise. So he gets the Philadelphia Police Department to make Tibbs work with Chief Gillespie and his force.
The film shows the hostility and violence towards an African American whom the locals feel has risen above his station. The mystery is authentic and keeps the audience guessing. Of course, Poitier and Steiger give sterling performances. It’s an excellent portrayal of racism in the early 60’s.