I’m still scratching my head as to why two friends recommended I see this film. They just raved about it. It sure isn’t my cup of tea. Starring Clint Eastwood, who also directed and produced it, Gran Torino shows Walt Kowalski, a tough curmudgeon whose wife has died who’s just a pain in the neck to his two sons and grandkids and neighbors. The person he’s closest with, and he isn’t that close to, is his barber, with whom he trades insults and profanity. There’s young, out-of-step priest who tries to connect with Walt, but the grouch has no patience for this cookie-cutter stereotype.
Next door to Walt live a family of Hmong refugees, whose lives Walt is forced to become involved with. A gang of about 5 Hmong guys terrorize the neighborhood. Walt’s teenage neighbor Thao is a bit wimpy and thus a target for his cousin’s gang. The gang forces Thao to try to steal Walt’s classic 1970s Gran Torino, but Thao is caught. When Walt sees the extent of how Thao gets pushed around by the thugs, the teaches the boy how to “man up.” All this moves to a showdown between Walt and the gang.
I felt all the actors overdid it. There wasn’t one subtle role. Too bad Toshio Mifune’s not around to teach how to be tough and subtle. The only natural performance came from Ahney Her who played Thao’s sister.
Replete with stereotypes and clichés, I couldn’t buy what I was seeing. Except for the end, Walt is in a foul mood about everything. Everything. I’ve seen this sort of grump in bad movies but never in real life.
There’s a good message about sacrifice and breaking through one’s racism, but since few are as biased as Walt, most audience members will just see themselves as better than the hero rather than in the same moral boat. I don’t need that. The Two of Us is a much better movie about racism. Yojimbo is a better film for action and defeating a gang.
Dion Johnstone as Ira Aldridge, CST
Chicago Shakespeare Theater presented an excellent production of Red Velvet by Lolita Chakrabarti. The story of the first African American to play Othello on the London state in 1833, the story explores racism. As we know, abolition was a hot issue in the mid-1800s. In England there were protests against the slave trade.
When Ian Keen, who starred as Othello, fell ill the manager of the Covent Garden Theater chose Ira Aldridge, a black actor from America to play Othello. Some in the cast were excited and supportive, but Ian’s son and another actor were strongly opposed.
Aldridge was a fine, thoughtful actor, whose goal was to work in London. He takes his art seriously and gives a passionate performance the first night. However, the critics were shocked to see an actor of African heritage on stage and their reviews were venomous. The manager, Pierre LaPorte is a good friend of Aldridge and he counsels the actor to tone down his performance. Yet we can see that Aldridge can’t rein in his perfectionism. His desire to bring Othello to life as he reads the play leads to disaster. A consummate professional, Aldridge pushes the edges of his performance.
The performances were all pitch perfect and the play was compelling as it showed a chapter of theater history, I wasn’t aware of. The play has been produced in London and New York. If it comes to your hometown, I highly recommend you check it out.
A fine film about a horrible time when the middle and upper classes of Mississippi were blind to the hideousness of the racism that kept their households running. (If they weren’t blind, they’d taken denial to new heights.) Based on the best selling novel, the film follows an aspiring journalist who after getting a job as a columnist writing about house cleaning decides to expose the inequity inherent in a society where African American women raise white people’s children, cook all their meals, and keep their homes immaculate, yet can’t use the same restrooms not just in town, but in the homes where they work. It’s a look at a society that is starched and genteel, where asking a few questions about the injustice all around them is sure to get you in trouble, big trouble.
Skeeter, the journalist, doesn’t really belong in pink and poofy Jackson, Mississippi as the civil rights movement begins. She’s smart and hasn’t rushed into marriage as all her friends have. She wants a job and respect. This frustrates her Southern Belle mother to no end. Her goal is to write about “The Help.” The hard part is convincing the housekeepers to participate. Most know that in this society where vengeance is swift and severe.
The film is touching and often humorous, though there were a couple parts I didn’t quite by. I do think anyone would detect the smell or consistency or something about the special ingredient the housekeeper she fired added. Yet that was a small matter. I liked the film, though I hated Mississippi. I just kept thinking “How can anyone stand living here?” Even in the days of Jim Crowe, Mississippi was considered the most racist state.
What’s interesting about the plot of the book is that while the action develops, there isn’t much change in the characters. Skeeter becomes moderately successful, but she never was a racist. Her beliefs were just confirmed. The housekeepers, Aibileen and Minny, become a bit braver, but it’s not like they’ve gone under a major change. They were always strong, smart women. None of the racists change. So much for scriptwriting rules — and that’s okay by me. This was more plausible. I’ve grown tired of the same old narrative structure and its rules.