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Archive for the ‘Hume Cronyn’ Category

12 Angry Men [Jack Lemon Version 1997]

26 Aug

12 Angry Men [Jack Lemon Version] –– directed by William Friedkin. Courtroom Drama. A jury reconsiders a foregone verdict. 1 hour 57 minutes Color 1997.

★★★★★

Each of the three versions of this screenplay is longer than the one before it, and each is perfectly adequate to the task. None of them is a moment too long or too short. This one is interracial, the most bigoted member of it being Black Muslim. It is beautifully cast, directed, and acted, as are the other two. And in each case the principal actor gets older. Robert Cummings is 44. Henry Fonda is 55. Jack Lemon is 72.

I imagine it is impossible to badly direct this piece. It is not impossible to overact it, for it is occasionally and in certain small ways, in all its versions, over-written, but that is a cavil. It is not overwritten in its addition of material and episodes. None of the actors dally or milk their parts for attention. This version holds us, even though, after three versions, we know its episodes, its moves, and its outcome. In this version color adds a good deal to the drabness of the jury room itself, and in this version the rain convinces. Nothing is more insufferably sweltering than a July downpour in New York City. A minor matter is that Bayside High is said to have a football team. It does not even have an athletic field. I went there and I know.

Jack Lemon, a wonderfully jittery actor and comic master, evinces none of his trademark volatility and plays the part steady-on, as it should be played. He is exemplary, and his evident age adds a bent of physical vulnerability subtly advantageous to our tension.

One of the expanded parts of the play is the final scene which George C. Scott plays coming to terms with the scar of hatred for his own son. I saw George C. Scott starting out on the New York stage in The Andersonville Trial. He was mightily impressive, and has remained so ever since. However, he has not shown us anything new for years. Until now. This is the finest and most extreme demonstration of his gift I have ever seen – an extraordinary performance, which opens him up to a region I never associated him with. Don’t miss it. He won Golden Globe and Emmy for it that year.

I admire great actor-technicians such as Scott and Armin Mueller-Stahl. All the actors are excellent, and James Gandolfini, a different sort of actor entirely, is particularly lovely.

This version was made for television, and I saw it on VHS. All versions are riveting. All versions are worth seeing.

Jack Lemon, Courtney B. Vance, Ossie Davis, George C. Scott, Armin Mueller-Stahl, Dorian Harewood, James Gandolfini, Mykelti Williamson, Edward James Olmos, William Petersen, Tony Danza, Hume Cronyn, and Mary McDonnell as the judge.

Henry Fonda, Lee. J. Cobb, Robert Webber, George Voskovec, Ed Begley, Jack Warden. Joseph Sweeny, Edward Binns, E.G. Marshall, John Fiedler, Martin Balsam, Jack Klugman.

Robert Cummings, George Voskovec, John Beal, Franchot Tone, Edward Arnold, Joseph Sweeny, Paul Hartman, Bart Burns, Lee Philips, Norman Fell, Larkin Ford. 

 

People Will Talk

29 Feb

People Will Talk — written and directed by Joseph Mankiewicz. Fairytale Romantic Drama. A famed university clinician has his medical practiced defamed by a malignant colleague. 103 minutes Black and White 1951

★★★★

This is 1951, and this is a movie about a witch-hunt. Hume Cronyn plays the witch, partnered in virtue by our belovèd Margaret Hamilton, than which there is no one witchier. Hume Cronyn is always despicable, is he not – even his eyeglasses are despicable. And in this case he plays the entire McCarthy Senate Hearing on Un-American Activities all rolled up into one. How this film slipped by the HUAC at that time is beyond me. Anyhow, the film is listed as a comedy, because Cary Grant takes it all in stride. It’s a hard part to make work, because Professor Praetorius is perfect. A pompous know-it-all is how Cary Grant’s wife characterizes him, and to edge it off Grant plays the whole part as though he were in possession of an amusing secret, which works pretty well, although nothing can quite dilute the Teutonic perfection of Professor Pretorius, a man with a past, and even a German name. Then the past is explained away by the wonderful Finlay Currie (remember him in David Lean’s Great Expectations?) in the famous story about Mr. Shunderson. Walter Slezak plays a well-leavened dumpling, and Sidney Blackmer intones his lines as though no one sat nearer than the second balcony. (I remember him in Sweet Bird Of Youth on Broadway doing the same thing, and there was no second balcony there either.) Jeanne Crain is a hard pill to swallow always, but here she rises to the occasion of a well-written grown-up role. She brings her natural spite into it, and it serves her well. Most interesting though is the direction of this screenplay, which is filmed quite simply and wisely, that is to say without reaction shots. When two people are arguing, both are on camera, when three three. This means the energy remains undivided, unsevered, undiluted, and intimate. Young directors should learn from it.  As in his All About Eve it works like gangbusters, particularly since the scenes are long, one starting in a cowshed and moving into the separator room, and the big confrontation scene all played out from beginning to end in a bedroom, and eventually the trial scene, where Mr. Shunderson plays the deus ex macchina. I like films with a lot of talk, and this is one. It is a fable, though, and in fables don’t expect light Cary Grantish humor; remember, like Grimms‘ it’s a German fairy tale. But do expect a happy ending. I loved the improbabilities of the revelation scene — but then, I’m always inclined to say, Why not?

 
 
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