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Archive for the ‘Jennifer Jason Leigh’ Category

Washington Square & Acting & Maggie Smith

27 Oct

Washington Square & Acting & Maggie Smith– directed by Agnieszka Holland. Costume Drama. 116 minutes Color 1997.

★★★

The Story: Is the swain of the homely heiress a fortune hunter, as her father thinks, or is he something else?

~

I’m exploring the acting of Maggie Smith with you today and for a little while to come.

Yesterday, friends crabbed about The Lady In The Van. They made long faces, said they didn’t like Maggie Smith at all. Sounded like they would never go see her again if they didn’t have to. Stuck out their tongues.

Perhaps they make a mistake.

I haven’t seen the film, but the mistake they perhaps make is to confuse Maggie Smith with the character she is playing. Perhaps the character she is playing is unlikable, selfish, and cruel.

But, if the character is supposed to be these awful things and Maggie Smith convinces you she is those things, then Maggie Smith is a brilliant actor, to be admired, commended, enjoyed, and advanced in our affection. If she creates the character without eliciting your sympathy for the character, well that may be her job.

 

It used to be said that John Wayne was a bad actor. But people said that because he played cowboys, and the snob in folks thought Westerns were lowbrow so you could not find good acting in them. Entertainment, yes, good acting, no.

John Wayne was a good actor. Of course, he could not play King Lear. But to scold an actor because he cannot play a role his particular instrument is not suited to is plodding. And not being Lear does not mean the actor is not a good actor in his way. Who was ever better at What John Wayne Did than John Wayne?

 

Wayne’s instrument was not of a classical nature. But like the instrument of many classical actors, Wayne’s instrument was only truly at home in costume drama – costume-legend, which is what Westerns are. Even in non-Westerns he had to be in costume, the uniform of a trade – which in modern dress would be military uniform, sea captains’ togs, naval brass, Marine fatigues, Green Berets. Even when he started in perhaps his greatest Western, The Big Trail, as a very young man, he is already in fringed white buckskin. Put Wayne in a suit and tie and you have a problem. Why? Because –– think about it – his manner is never contemporary; it is always legendary. He is never paying anyone you would ever actually know.

There’s nothing wrong with that, nothing less in being able to act and do that. Wayne came from, belonged to, and remained in the heroic period and mode of film acting, which started when it started and has practically expired in film, although Tom Hanks, in his modest way, sustains the tradition in certain roles. Hanks originally played comedy. No more. Why is that? In asking this question we ask what sort of actor has he become, and what sort of actor is any actor.

Wayne is or became a performer of ceremonial plots. He delivered his dialogue with the ritual intonation of a doxology. He was successful at it. As King Lear he would not have been successful. Paul Scofield would have failed as Ringo in Stagecoach.

 

Maggie Smith’s instrument is also of a classical nature.

What does that mean – classical nature?

From the professional standpoint, it means the actor plays best in roles of high rhetoric: Shakespeare, Wilde, Shaw, Restoration Comedy, Old Comedy, Operatic Melodrama and Romance, Greek Tragedy, Schiller, Corneille, Moliere, plays in rhymed or unrhymed verse.

From the technical standpoint, the standpoint of craft, an art is classical which steals from the art of the past. Sargent is a classical painter because he stole from Velasquez. And it is one of the quirks of such an instrument that the noise the classical actor makes, whatever else it may be able to do, is generally not endearing, John Gielgud being an exception to this rule.

On the other hand, it also seems true that actors who are not classical actors are often quiet endearing. Lady Macbeth was not within Marilyn Monroe’s reach, but she was very endearing.

So it’s a good idea to try to see the whatness of an actor’s instrument before responding to their performance. Try to see what they are and what they are not before making up your mind.

 

As I say, I have not seen The Lady In The Van, but considering that Maggie Smith is essentially an actor seldom cast in heavy drama but more in comedy, we might consider what experienced theater folk say of her: that comedy is where the essence of her talent lies. That that’s the sort of actor she best and truly is.

In which case, from that lady in the van we might expect her to be nasty, sour, and unlikeable, and all those things we mentioned – plus funny.

If you look at her work in Downton Abby, you must observe that, except for Daisy and Mrs Patmore belowstairs, Smith is the only source of comedy, and the only upstairs version. Why does she make you laugh? (Those who know her say that as a person Maggie Smith is inherently funny!) The Dowager Countess is funny because she is wickedly funny.

And how does that work? How does she do it?

Why isn’t it just malicious? It almost is.

She’s funny because she makes her Dowager funny to herself.

She is not saying these things because they are mean. She says what she says not to hurt someone. She simply says it to them anyhow! And because it is delicious to her.

How does the Dowager get away with it?

She gets away because she directs her cracks towards those we already dislike. Which is also the way her part is written.

This is quite different from her performance as Lady Trenton in Gosford Park. The Dowager is not malicious. Lady Trenton is. She is inhumanly thoughtless to servants, whereas The Dowager is tolerant of her servants, and indeed pretends to let them believe that they rule her life. When Lady Trenton says, “Me? I haven’t a snobbish bone in my body!” you laugh at her behind her back as ridiculously unaware of herself. But, when an obnoxious suitor to the granddaughter of The Dowager says, “I’ll never come to Downton Abby again!” and The Dowager sweetly says. “Do you promise?” you laugh, for she is never ridiculous and always well aware of herself indeed. The Dowager has said what you yourself would wish to say to characters; Lady Trenton says what should never be said by anyone to anyone.

Partly what’s funny is that Smith makes The Dowager so completely selfish in this that you have to laugh. That is to say, she is happy. And the screenplay grants her license to be so. Still, how does she get away with it?

She gets away with it because The Dowager always tells the truth and it is always out of place. So it’s doubly funny – meaning its humor is complex and we find the very complexity funny. She gets away with it? Because no one can put her in her place; because, being a countess, she has the highest title; because she is the principal and ultimate forebear; because she is unassailably old; because she is rich; because she holds grand-maternal power; because she is beautifully spoken – all of which are givens with the role and therefore do not have to be acted at all and which Smith does not act. The Dowager is drenched in permission – all of which allow her to tell the truth out of place. Her job, as an actress, is to find the place. The Dowager is privileged as a child who cannot be spanked. What the rest of us have in mind but dare not say, she blurts.

And, of course, she is given lines which make her do so.

Such characters as The Dowager and Lady Trenton in Gosford Park have riches, power, position. They have everything, and so they are characters free to speak their minds. The one is funny to us in one way; the other is funny to us in another way.

Another character who could freely speak her mind would be one who had nothing. Such as a child.

Or a baglady in a van.

 

Other actresses admired Maggie Smith when she first started. And  actresses are quite chary and near and keen in perceiving excellence in a rival, and to all actresses all actresses are rivals. It was not because she played likeable characters, attractive characters, entertaining characters that she was admired by actresses. It was because she acted what was there. She played godsbody to Orson Welles in The V.I.P.s and a paid companion to Bette Davis in Murder On The Nile. Not glamorous roles. And not doing so, she has won 57 competitive acting awards in 158 nominations, and it would be wise to observe that these were not for roles whose conventions made her universally popular such as Bette Grable or John Wayne had. For, as anyone can tell, if she is a movie star at all, she is not a star of that sort.

She is not a star of the universally admired forces: The Heroine (such as Katharine Hepburn); The Endearing Lady (such as Elizabeth Bergner); The Trophy Wife (such as Elizabeth Taylor); The Sex Kitten (such as Brigitte Bardot); The Tough Dame (such as Barbara Stanwyck) or The Striver (such as Joan Crawford). Those women gave fine performances, but Maggie Smith is not an actor of such a universally and recognizably popular sort. She is not an actress of The Great Forces That Drive Us. That is not her whateness.

You might want to put Maggie Smith in Geraldine Page’s  class, but Page’s power puts her in a class by herself, and Maggie Smith does not possess Page’s power.

So you don’t go to Maggie Smith for a character to be nice or popular or kind or beautiful or vulnerable. Those are very big things, lovely things, some of them. You might find that a certain characters she plays might include those things. But you’d best not count on it. If you want bittersweet chocolate, Carole Lombard will grant it without fail. Carole Lombard was the most loved actress in Hollywood. She was also of the order of actress who could give the audience bittersweet chocolate reliably every time. Sweetness with a bite. It’s a fine order of actor. Maggie Smith is not of that order of universal consistency. Or rather, A Consistent Universality.

So you’d best not say you don’t like Maggie Smith when what you may really not like is the character she is playing. Miss Jean Brodie is not likeable .

So do not expect her to be always decent, as you do Henry Fonda, or emotionally pretty, as you do Marilyn Monroe. Or expectably anything. Or, rather, the only thing you might expect of Maggie Smith is that, within the realm of the character, she might be funny.

But her Desdemona in Olivier’s Othello, could be, but is never funny. So there! Best not expect anything.

 

Maggie Smith is now over 80. Leading roles for actors of this age are few. And, if they are written, do audiences come to see someone old?

Actresses take what is on offer at the time, as they have always done, and if character leads are also fewer, even an actor of renown may find herself pinched into the corset of a supporting role.

That seems to be Maggie Smith’s case with Washington Square, a TV adaptation of Henry James novel. It had previously been done in a Broadway play The Heiress, then in a notable film.

In all versions, Washington Square is about an upper class girl who is wooed by a good-looking worldly young man with no money. Her father acts as though the young man must want to marry her for her money and tries to put the kibosh on the wedding.

 

The hard thing is find the right cast.

In New York, the heiress was played by Wendy Hiller and the father by Basil Rathbone. Outwardly a good combination. In London it was played by Peggy Ashcroft and Ralph Richardson, another good combination. Cherry Jones won an Emmy in it 1995.

This version, which is a different take on The Heiress, returns us to something nearer his novel Washington Square. As a version it is more interesting, as a performance questionable.

The question arises as to how to play Catherine Sloper.

Her father sees her as unmarriageable – awkward, charmless, dull – and calls her so, forces that view upon her, that his daughter should really be man’s best friend, a lapdog.

But how does an actress do that?

For real.

Because the play, which has been successful many times, is about a person thinking they are not lovable. That is the drama. The drama is: is this true? Or in what way true? Can the suitor prove it to be true – or not true? Lovability. A Great Theme. Because each of us may harbor that gleaming doubt. Nobody Will Ever Really Love Me is the mantra in all of us that makes us want to prove this story out and stick with it.

But by what standard of unloveability is it judged, one must ask?

By the standards of her time, her father, her family history?

The actress must decide this. She must find what she can do. She must find what the rubric of acting allows her to do.

For unloveability itself cannot be acted.

Shyness might be acted, but it doesn’t get one far.

Modesty and humility, which is what Olivia De Havilland played in the film, don’t go far enough.

Physical awkwardness might do something – but it’s external. Here, the actress tries it in a dance scene, and it doesn’t ring true, because it’s exaggerated; she looks at her feet and counts beats. It’s too obvious, too externalized, too shown. Besides, behaving that way would make Catharine Sloper an idiot, and if she were retarded, she probably could not be pursued for a wife legally by anyone.

Does Catherine Sloper have sufficiently bad taste in dress to make her a poor trophy wife? Is that why she’s unlovable?

Here, she wears one hideous dress, true, but is one ugly dress enough to make one unmarriageable?

The character lacks self-confidence? Is that the basis of her unlovability?

It seems to me, that’s the heart of it, but in and of itself that is also unactable. That is, technically an actor cannot act such a thing as lack of confidence. What an actor can act is a seesawing between two choices resulting in confusion, which can be read as lack-of-self-confidence.

Lack of self-confidence can also be worked as someone who tries to be someone else or someone better or other than she is, which would make her a hypocrite and a phony. Katharine Hepburn in Alice Adams does this, inadvertently.

But then such a Catharine Sloper would have to be a very tiny hypocrite for a suitor to get past it.

Or does Catharine Sloper think of herself as unlovable to please her father who calls her unlovable?

Does the key to the part lie in her father’s behavior towards her?

Does her confusion arise from believing her father loves her yet dubs her unlovable.

Her father resents her because her birth killed his wife, and so in his mind Catherine’s very existence deprived him of love and sex. So he in turn denies her both; it just comes out of him that way.

The father is an interesting character because his firm stand must be to declare he loves his daughter and declare she is unlovable, and in the same voice declare that the reason he says she is unlovable is because he loves her.

We can see this working itself out before us. When she is little he treats her as his devoted spaniel. And no more than that. We learn later what in his eyes her life should be: a permanent household companion to him. Obedient. Faithful. Fawning. He never wants her to leave the house. He never wants her to marry. He always wants her on a leash. He wants her faithful to him. He wants her to be a dog.

Yet we must believe that she believes that he loves her.

Or we must see that the extravagance of her love for him is designed to mask from her that he does not love her at all – a condition even more intolerable than the hypocrisy she fabricates to hide it.

So, we see her tearing down the stairs and jumping up on him like a clumsy puppy. Is that the key: she has decided she can be loved only as a Fido, not as a human woman. Is that where we have the foundation for Catherine’s character?

How would it feel to be treated like a pet dog, and agreeing to it, because it pleases the head of the house? And how would it feel buying into that fully – for her father and for everyone in their circle – and their buying into it too.

 

But now someone arrives on the scene who wants to treat her as a human being! A woman to be loved, desired, and married.

What does the actress do? Dog into human, human into dog.

Now there is something actable.

Perhaps Catharine’s failure of confidence is her awkwardness as she approaches life and others like a puppy.

Or, perhaps, she refuses to be petted, is standoffish, until she finds someone who can love her without scratching her behind her ear.

“Do people think I’m a dog? That I’m a mammal but not human? I don’t want them to. But so what! If that’s what they think, then I’ll be an Afghan Hound!” Is that how to start the part? On shaky ground?

 

I’ve seen this part done by Julie Harris, Olivia De Havilland and now Jennifer Jason Leigh.

Jennifer Jason Leigh has always been a problem-actress. She usually plays creeps, or at least that’s how everything comes out – the Lois Smith syndrome, except Smith got over it. We see something unstable in Jason Leigh as she does this. The actress, here as elsewhere, deliberately makes herself technically unmoored. Her characters go gaga. This turns her into a loose canon, such as she so brilliantly was in The Ugly Eight. And this is what Jason Leigh uses to show why Catharine Sloper is taken to be unlovable. Meaning unattractive. Meaning so odd no one can get a fix on her long enough to court her. She is unlovable because she’s too dangerous.

It doesn’t work. Catherine Sloper is not dangerous. Not insane. Were she insane or in danger of being so, there would be no drama, because the suitor would be automatically disqualified by it.

But still, Jennifer Jason Leigh is a professional actress playing a part for which she is suited. She has to go through with it.

And she fails because in the end we know we do not want the suitor to love Catharine any more than her father does. Because no one wants a handsome suitor to marry a bag lady. No wants a Catherine Sloper with such screaming eyes to marry anyone ever. And the reason we don’t is that Jennifer Jason Leigh’s Catherine Sloper is a creep. Whether the father loves her or the suitor loves her is of secondary importance.  We, the audience, must love her —  must know we love her — and love her for her — and we don’t.

 

Maggie Smith plays Catherine Sloper’s in-house chaperone, Aunt Lavinia. It’s a marvelous role, successfully played by Miriam Hopkins in the William Wyler movie in which Olivia De Havilland won an Oscar.

De Havilland is a pretty a woman if ever there was one, so that her Catharine is supposedly plain doesn’t work. Instead, her Catherine is supposed to be ordinary, which flattens the performance, so that’s is not quite enough either. But Ralph Richardson turns his opaque eye upon her to good effect. Montgomery Clift as the penniless suitor is beautiful enough to make up for all the qualities which the suitor Maurice Townsend is meant to possess: brilliance, charm, and a well-travelled sophistication, in all of which Clift is completely void. Montgomery Clift came from an upper class family; as an actor he is a City College undergraduate headed toward accounting.

None of these allures does Ben Chaplin possess either. He has lightless eyes and not great beauty. So we have to simply take on credit that he is her dreamboat.

The argument that the suitor could make a good husband as well as being a fortune-hunter does not enter into the Wyler film, but it does so here, and it is cogent, but not developed. It would make of this piece a considerable tragedy if it were and were there any appeal for us in the two actors themselves.

Another American actor, Judith Ivey, is excellent. The costumes of the ugliest period of women’s clothes in the history of the world are superb and are urban crinolines topped by sausage curls. Hideous. But accurate.

The interior settings are the most brilliant I have ever seen for this period. The movie is well worth watching just for them.

 

What Maggie Smith does is have a grand old time – strictly within the bounds of the size of the part.

Aunt Lavinia, poor woman, is as much in a passion over Maurice Townsend as Catherine Sloper is. Smith’s sexual dabbing on him, her brazen and fake-bashful rendezvous with him in a bordello, her interloping and go-betweening actually capsize the affair. Having so little business of her own, Lavinia noses into others’ business like mad.

Smith has a sound American accent in the sense that she rounds her Rs, a letter which, except at the beginning of words, the British never pronounce. Her mistake is that she has no specific American accent. Everyone in American came from somewhere in 1850; they would have sounded as though they did. Albert Finny as Dr. Sloper is also supposed to be American. Ben Chaplin the same, and is also English. So we have three English actors having vacated their native tongue and one American actress who has vacated her technique. The result is a dead axle.

Moreover, Maggie Smith, even with her American accent partly in place, does not convince in the role.

Watch what she does. Everything she does is on-the-money-American. But…

But her speech patterns are British. They are of British upper-class Modern Comedy, in which she excelled. Restoration comedy, in which she excelled. Shaw, in which she excelled. Oscar Wilde, in which she excelled. Comedies of Shakespeare, in which she excelled. It’s in her body.

The energy behind them is not of an American from Boston, a widowed Aunt living on the charity of relatives. The energy is British. The sort of person she gives us is someone who never crossed the sea.

 

To do my friends justice, their response to The Lady In The Van was that the character Smith played was so obnoxious that it made them gag, and, if they made of that a condemnation of the way she played her, their condemnation may be right. I haven’t seen it.

But if you look for the whatness of an actor at work you may find elements with which you can weigh and distinguish what you are seeing. This whatness is a quality almost so physical it will have a physical manifestation. Look for it. That way, you are more able to avoid saying that you hate an actor, that such an one is a bad actor or that so and so gave a bad performance. When, in fact, they have given a good performance of a character you don’t happen to care for.

 

It’s hard to distinguish one thing from another in human beings. Or in oneself.

Still, it’s more fun to look a little deeper.

It helps makes one more forgiving.

Before which, of course, one must become more ruthless.

 

~ ~ ~

 

 
 

Washington Square

13 May

Washington Square – directed by Agnieszka Holland. Costume Drama. 116 minutes Color 1997.

★★★

The Story: Is the swain of the homely heiress a fortune hunter, as her father thinks, or is he something else?

~

I’m exploring the acting of Maggie Smith with you today and for a little while to come.

Yesterday, friends crabbed about The Lady In The Van. They made long faces, said they didn’t like Maggie Smith at all. Sounded like they would never go see her again if they didn’t have to. Stuck out their tongues.

 

Perhaps they make a mistake.

I haven’t seen the film, but the mistake they perhaps make is to confuse Maggie Smith with the character she is playing. Perhaps the character she is playing is unlikable, selfish, and cruel.

But, if the character is supposed to be these awful things and Maggie Smith convinces you she is those things, then Maggie Smith is a brilliant actor, to be admired, commended, enjoyed, and advanced in our affection. If she creates it without eliciting your sympathy, well that may be her job.

 

It used to be said that John Wayne was a bad actor. But that was because he played cowboys, and the snob in folks thought Westerns were lowbrow so you could not find good acting in them. Entertainment, yes, good acting, no.

John Wayne was a good actor. Of course, he could not play King Lear. But to scold an actor because he cannot play a role his particular instrument is not suited to is plodding. And not being Lear does not mean the actor is not a good actor in his way.

Wayne’s instrument was not of a classical nature. Wayne’s instrument could play in costume legend, which is what Westerns are. For Wayne’s particular instrument to be effective it had to be in costume, which in Western  would be jeans and which in modern dress would be military uniform, captains’, admirals’, marines’ and such. This was true from the moment he started, in The Big Trail, where he is in fringed white buckskin. Put him in a suit and tie and you have a problem. He is or became a performer of ceremonial plots with dialogue spoken with the ritual intonation of a doxology. He was successful at it. As King Lear he would not have been successful, and Paul Scofield would have failed as The Ringo Kid in Stagecoach.

 

Maggie Smith’s instrument is of a classical nature. And it is one of the quirks of such an instrument that the noise it makes, whatever else it may be able to do, is generally not endearing, John Gielgud being an exception to this rule.

On the other hand, it also seems true that actors who are not classical actors are often quiet endearing. Lady Macbeth was not within Marilyn Monroe’s reach, but she was very endearing.

 

So it’s a good idea to try to see the whatness of an actor’s instrument before responding to their performance. Try to see what they are and what they are not before making up your mind.

John Wayne?

Really, who could have been better?

 

As I say, I have not seen The Lady In The Van, but considering that Maggie Smith is essentially an actor seldom cast in heavy drama but more often cast in comedy, we might consider what experienced theater folk say of her: that comedy is where the essence of her talent lies.

In which case, from that lady in the van we might expect her to be nasty, sour, and unlikeable, and all those things we mentioned – plus funny.

If you look at her work in Downton Abby, you must observe that, except for Daisy and Mrs Patmore belowstairs, Smith is the only source of comedy, and the only upstairs version. Why does she make you laugh?

(Those who know her say that as a person Maggie Smith is inherently funny!)

The Dowager Countess is funny because she is wickedly funny.

And how does that work? How does she do it?

Why isn’t it just malicious?

It almost is.

She’s funny because she makes her Dowager funny to herself.

She is not saying these things because they are mean. She says what she says not to hurt someone. She simply says it to them anyhow! And because it is delicious to her.

How does the Dowager get away with it?

She gets away because she directs her cracks towards those we already dislike. Which is also the way it is written.

This is quite different from her performance as Lady Trenton in Gosford Park. The Dowager is not malicious. Lady Trenton is. She is inhumanly thoughtless to servants, whereas The Dowager is tolerant of her servants, and indeed pretends to let them believe that they rule her life. When Lady Trenton says, “Me? I haven’t a snobbish bone in my body!” you laugh at her behind her back, for she is so ridiculously unaware of herself. But, when an obnoxious suitor to the granddaughter of The Dowager says, “I’ll never come to Downton Abby again!” and The Dowager says. “Do you promise?” you laugh not at her but with her, for she is never ridiculous and always well aware of herself indeed.

Partly what’s funny is that Smith makes The Dowager so completely selfish in this that you have to laugh.

And the screenplay grants her license to be so. Still, how does she get away with it?

She gets away with it because The Dowager tells the truth and it is always out of place, except that no one can put her in her place because being a countess she has the highest title, because she is the principal forebear, because she is old, because she is rich, because she holds maternal power, because she is beautifully spoken – all of which are givens with the role which do not have to be acted and which Smith does not need to act – but all of which allow her to tell the truth out of place. She is privileged as a child who cannot be spanked. What the rest of us have in mind but dare not say, she blurts.

And, of course, she is given lines which ask her to do so.

Such characters as The Dowager and Lady Trenton in Gosford Park have riches, power, position,. They have everything. And so they are characters free to speak their minds.

Another character who could freely speak her mind would be one who had nothing. Such as a child.

Or a baglady in a van.

 

Other actresses admired Maggie Smith when she first started. And other actresses are very chary and very near and very keen in perceiving excellence in a rival, and to all actresses all actresses are rivals. It was not because she played likeable characters, attractive characters, entertaining characters that she was admired by actresses. It was because she acted what was there. She played godsbody to Orson Welles in The V.I.P.s and a paid companion to Bette Davis in Murder On The Nile. She didn’t play glamorous roles. And not doing so, she has won 57 competitive acting awards in 158 nominations, and it would be wise to observe that these were not from roles that made her universally popular like Bette Grable or John Wayne. For as anyone can tell, if she is a movie star at all she is not a star of that sort.

She is not a star of the universally admired forces: The Heroic (such as Katharine Hepburn); The Endearing (such as Elizabeth Bergner); The Trophy (such as Elizabeth Taylor); The Sex Kitten (such as Brigitte Bardot); The Tough Dame (such as Barbara Stanwyck) or The Striver (such as Joan Crawford).

Those women gave fine performances, but Maggie Smith is not an actor of such universal sort. She is not an actress of the great forces that drive us. That is not her whatness,

If Geraldine Page were not in a class by herself, you might want to put Maggie Smith in her class. But Maggie Smith does not possess Page’s power, which is why Page is in a class by herself.

So you don’t go to Maggie Smith for a character to be nice or popular or kind or beautiful or vulnerable. Those are very big things. You might find that a certain character she plays might include those things. But you’d best not count on it. If you want bittersweet chocolate, Carole Lombard will grant it without fail. Carole Lombard was the most loved actress in Hollywood. She was also of the order of actress who could give the audience bittersweet chocolate reliably every time. Sweetness with a bite. It’s a fine order of actor. Maggie Smith is not of that order. She does not possess universal consistency. Or rather, A Consistent Universality.

 

So you’d best not say you don’t like Maggie Smith when what you may really not like is the character she is playing. You’d best not confuse the actor with the character she is acting.

The actor will use herself to do the acting. She can play a beast and a bitch because those things are in her and because they are in everyone. She may be amusing or not.

But do not expect her to be always decent, as you do Henry Fonda, or emotionally pretty, as you do Marilyn Monroe.

As I say, the only thing you might expect of Maggie Smith is that, within the realm of the character itself, she might be funny.

But her Desdemona in Olivier’s Othello, could be, but is never funny. So there! Best not expect anything.

 

Maggie Smith is now just over 80. Leading roles for actors of this age are few. And, if they are written, do audiences come to see someone old?

So actresses always take what is on offer at the time as they have always done, and if character leads are also fewer, even an actor of renown may find herself pinched into the corset of a supporting role.

That seems to be the case with Washington Square, a TV adaptation of Henry James’ novel of that title. It had previously been done from a Broadway Play in a film called The Heiress.

It’s about an upper class girl with no confidence who is wooed by a good looking worldly young man with no money. Her father acts as though the young man must want to marry her for her money and tries to put the kibosh on the wedding.

The hard thing is find the right cast.

In New York, the heiress was played by Wendy Hiller and the father by Basil Rathbone. Outwardly a good combination. In London it was played by Peggy Ashcroft and Ralph Richardson, another good combination. Cherry Jones won an Emmy in it 1995.

This version, which is a different take on Henry James’ story from The Heiress, returns us to something nearer to his novel Washington Square. As a version it is more interesting, as a performance questionable.

The question arises as to how to play Catherine Sloper.

Her father sees her as unmarriageable – awkward, charmless, dull —  and calls her so.

But how does an actress do that?

For real.

Because the play, which has been successful many times, is about one thinking one is not lovable.

I think that’s what it’s about. “Nobody will ever love me,” is the mantra behind all of us that makes us want to prove this story out and stick with it

But unloveability cannot be acted.

Shyness might be acted, but it doesn’t get one far.

Physical awkwardness might do something, but it’s external. And it doesn’t work here, because it’s exaggerated in a dance scene where she looks at her feet and counts beats. Doesn’t ring true.

Besides, doing that would make Catharine Sloper an idiot, and if she were retarded, she probably could not be pursued for a wife legally by anyone.

She has bad taste in dress?

She wears one which is hideous, true, but that’s not enough to make one unmarriageable in the eyes of all the world.

The character lacks self-confidence.

It seems to me, that’s the heart of it, but in and of itself that is also unactable. That is, technically an actor cannot act such a thing as lack of confidence.

Lack of self confidence can be worked as someone who tries to be someone else or someone better or other than she is, which would make her a hypocrite and a phony. Katharine Hepburn in Alice Adams does this.

But she’d have to be a very small hypocrite for a suitor to get past it.

 

The key to the part lies in her father’s behavior towards her. Her birth killed his wife, and so in his mind Catherine’s very existence deprived him of love and sex. So he in turn denies her both. It just comes out of him that way. When she is little, he treats her as his devoted spaniel. And no more than that. We later learn what in his eyes her life should be: a spinster and permanent household companion. Obedient. Faithful. Fawning. He never wants her to leave the house. He never wants her to marry. He always wants her kept on a leash. He wants her faithful to him. He wants her to be a dog.

So, we see her as a child tearing down the stairs and jumping up on him like a clumsy puppy, and there we have the foundation for Catherine’s character.

How would it feel to be treated like a pet dog but wanting to be treated like a human?

Dog into human, human into dog. Now there is something actable.

Perhaps Catharine’s failing is that she approaches life and others like a puppy.

Or, perhaps, she refuses to be petted is stand-offish, until she finds someone who can love her without scratching behind her ear.

“Do people think I’m a dog? That I’m a mammal but not human? I don’t want them to. But so what! If that’s what they think, then I’ll be an Afghan Hound!”

 

I’ve seen this part done by Julie Harris, Olivia De Havilland and now by Jennifer Jason Leigh.

Jennifer Jason Leigh has always been a problematic actress. She usually plays creeps.

We see something unstable in her as she does this. This not so much in evidence here, but the actress, here as elsewhere, deliberately makes herself technically unmoored. Her characters are all gaga. This makes her into a loose canon, such as she so brilliantly was in The Ugly Eight. And this is what she uses to show why Catharine Sloper is taken to be unlovable. Meaning unattractive. Meaning so odd no one can get a fix on her long enough to court her. It doesn’t work.

Jennifer Jason Leigh does not get to the heart of anything here, but still she is a professional actress playing a part for which she is suited.

And she fails because in the end we know we do not want her suitor to love Catharine any more than her father does.

 

Maggie Smith plays her in-house chaperone, Aunt Lavinia. It’s a marvelous role, successfully played by Miriam Hopkins in the William Wyler movie in which Olivia De Havilland won an Oscar.

De Havilland is a pretty a woman if ever there was one, so that Catharine is supposedly plain doesn’t work. Instead, her Catherine is supposed to be ordinary, which is not quite enough either. But Ralph Richardson turns his opaque eye upon her to good effect. Montgomery Clift as the penniless suitor is beautiful enough to make up for all the other qualities which the suitor Maurice Townsend is meant to possess: brilliance, charm, and a well-travelled sophistication, in all of which Clift is completely void.

None of these does Ben Chaplin possess either. He has lightless eyes and not even great beauty. So we have to simply take on credit that he is her dreamboat.

The argument that the suitor could make a good husband as well as being a fortune-hunter does not enter into the Wyler film, but it does so here, and it is cogent. It would make of this piece a considerable tragedy were there any appeal for us in the two actors themselves.

 

Another American actor, Judith Ivey, is excellent.

The costumes are superb and are of the ugliest period of women’s clothes in the history of the world. Urban crinolines topped by sausage curls. Hideous. But accurate.

The interior settings are the most brilliant I have ever seen for this period. The movie is well worth watching just for them.

 

What Maggie Smith does is have a grand old time – strictly within the bounds of the size of the part. Aunt Lavinia, poor woman, is as much in a passion over Maurice Townsend as Catherine Sloper is. Smith’s sexual dabbing on him, her brazen and fake-bashful rendezvous with him in a bordello, her interloping and go-betweening actually capsize the affair. Having so little business of her own, she noses into others’ business like mad.

Smith has a sound American accent in the sense that she rounds her Rs, a letter which, except at the beginning of words, the British never pronounce. Her mistake is that she has no specific American accent. Everyone in American came from somewhere; in 1850 they would have sounded as though they did. Albert Finny as Dr. Sloper is also supposed to be American. Ben Chaplin also is, and is also English. So we have three English actors having vacated their native tongue and one American actress who has vacated her technique. The result is a dead axle.

 

Moreover, Maggie Smith, even with her American accent partly in place, still does not convince in the role.

Watch what she does. Everything she does is on the money. But…

But her speech patterns are English. They are of English Modern Comedy, in which she excelled. Restoration comedy, in which she excelled. Shaw, in which she excelled. Oscar Wilde, in which she excelled. Comedies of Shakespeare, in which she excelled.

The energy behind them is not of an American from Boston, a widowed Aunt living on the charity of relatives. The energy is British. The sort of person she gives us is someone who never crossed the sea.

 

To do my friends justice, their response to The Lady In The Van was that the character Smith played was so obnoxious that it made them gag, and, if they made of that a condemnation of the way she played her, their condemnation may be right. I haven’t seen it.

But if you look for the whatness of an actor at work you may find in you elements for judgment with which you can weigh and distinguish what you’ve seen or are seeing. That way, you are more able to avoid saying that you hate an actor, that such an one is a bad actor or that so and so gave a bad performance.

It’s hard to distinguish one thing from another in human beings. Or in oneself.

Still, it’s more fun to look a little deeper. Not much deeper, just a little.

It may help make one more forgiving.

 

 

The Big Picture

03 Aug

The Big Picture ­­­­–– directed by Christopher Guest. Satire. A film student gets discovered by Hollywood and barters away his soul, almost. 100 minutes Color 1988.

★★★

I am actually zero degrees of separation from Kevin Bacon. For back in the palmy days of the 70s, my lady friend drew me from Greenwich Village to a big Thanksgiving party in the Philadelphia house of Kevin Bacon’s parents, whose father was city planner. Kevin was a kid running around the yard playing touch.

Because of this gratifyingly high position I hold in his life, I have always wanted him to be a favorite actor of mine, but there are too many degrees of separation for that.

There is a human model called Fusion, which divides folks into two outer types, either the controlling or the withdrawn, and each of these combines with an inner type, either the steady or the volatile. Katharine Hepburn would be Volatile/Controlling, and Spencer Tracy would be Steady/Withdrawn. Kevin Bacon would be Volatile/Controlling also, and his best friend in the movie and his girlfriend would both be Steady/Withdrawn.

The problem with Kevin Bacon as an actor is that his Controlling energy is used, probably unconsciously, not to control his surroundings and make them better, but to control himself. The result is a tension ever present and useful only in dramatic roles. In a comedy, which this film is, it is useless and indeed detrimental. In dramatic roles it gives him a certain deadness; this makes him an ideal villain. But it prevents him from being a natural comic actor, someone who is inherently funny. And without this quality the present film falls flat.

And it falls even flatter by contrast when there appear in it actors who are inherently funny, or who can do funny things, or both. Such ones are Fran Dresher, who is marvelous as the Hollywood wife who is forever redecorating her home. Or Martin Short, whose exquisitely and imaginatively rash take has an uncanny viability as a gonzo Hollywood agent,. Or Teri Hatcher as the sex-bomb starlet. Or Jennifer Jason Leigh, my least favorite actor, who, in a very well-written part, is brilliant in making the manically volatile film student into someone one’s heart bleeds for. These four have talents that can rise to meet the challenge satire demands.

As has the great J.T.Walsh as the sinister, controlling studio head. But Bacon is so tense, even his teeth are tense. It throws his timing a half-beat short. It makes everything he does preplanned, so even his improvisations seem like nothing is actually happening to him. Nothing looks fresh. Everything looks thought-out even when nothing is. He is a very good actor, but his presence in this material is the ruination of it. It’s a Tom Hanks part; it needs someone you can get behind, someone inherently a fool. The best Bacon can come up with is routine naiveté. It wants not just an actor you like but one you can admire for making a jackass of himself, someone so vulnerable they are lucky.

 

Crossed Over

03 Dec

Crossed Over – directed by Bobby Roth — a novelist who has lost her son in a hit-and-run becomes friends with a notorious murderess in prison. 89 minutes color 2002.

* * * *

It but touches on things. How could it have done otherwise? I don’t know. The hell-realm of Karla Faye Tucker would be something worth looking at, but instead of going inside, we skip along on the stones of her personal history, but we never fall in, for the script misses itself. Very sad about her, good that she had a spiritual emergence. And then was executed. That was enough. The Diane Keaton character who persistently visits Tucker after her own son is killed by a hit-and-run driver is also given the once-over. Diane Keaton is an actor of genius; her recognition scene early in the picture is stunning. Maury Chaykin is an actor of the very first rank, and he offers a lot to Keaton here; he brings a sense of her reality in him, and so we do believe they are well married. But what we are given, instead of the collusion of Keaton and Jennifer Jason Leigh as Tucker, in a mysterious joining, is pat. The tears are pat. The sorrows are pat. The rapprochements are pat. Everything is routine. It is as though history must be honored over truth; as though this were not a drama but a documentary. Jennifer Jason Leigh is well cast as the murderess. She is an actor of great brilliance, whose career has collapsed because of a failure of voice production and trained actor’s proper articulation. One never understand the words she is saying. Nonetheless she is perfectly cast here, for the part needs an actress of no personal appeal whatsoever, and such she is. The film is well-directed and very well filmed. The prison mis-en-scene is uncannily right. But where is the power of a real story?

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