Paul Newman R.I.P. (1925-2008)

One of the most solid actors to walk the planet in the last century has just left us. I suspect many of my fellow film bloggers out there are too young to truly know the depths of his work so I would suggest filling NetFlix queues with Newmans finest. Undisputed classics such as THE HUSTLER, HUD, COOL HAND LUKE, and Sydney Lumet s THE VERDICT are highly recommended. As are his fun period piece buddy films with Robert Redford – BUTCH CASSIDY AND THE SUNDANCE KID and THE STING.

Extracurricular work would include Sydney Pollack s ABSENCE OF MALICE, NOBODY’S FOOL, and MR. AND MRS. BRIDGE. Honestly you can’t go wrong with a Paul Newman movie – even BLAZE and THE TOWERING INFERNO have their merits. He worked with many of the great directors – Alfred Hitchcock on TORN CURTAIN, Robert Altman on BUFFALO BILL AND THE INDIANS, Martin Scorsese on THE COLOR OF MONEY (which Newman won the Best Actor Oscar for) and even the Coen Brothers on the unjustly underrated THE HUDSUCKER PROXY (pictured at the top of this post).

His comical side has been overlooked in many of the obits I ve read the last day or so but his appearances on Letterman over the years have been hilarious self-effacing affairs – check out this clip on youtube. Its fitting that his last role was the voice of a 1951 Hudson Hornet Automobile named Doc Hudson in Pixars CARS. Nice that the wee ones will get an intro to Mr. Newman there.

So put some Newmans Own popcorn in the microwave, fire up the DVD player and pay proper tribute to the man.

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New DVD Diatribes For A Dreary Rainy Day

Yep, a few NetFlix envelopes torn open and their contents digested on a cloudy drizzly May day goes somethin’ like this:

MY KID COULD PAINT THAT (Dir. Amir Bar-Lev, 2007) Is Marla Olmstead just a regular 4 year old who likes to paint or is she a artistic genius on the scale of the great masters? Bar-Lev’s documentary filmed a few years back follows the Olmsteads – a family from Binghampton, NY whose youngest daughter’s abstract canvasses cause a sensation in the art world. Her paintings are sold for thousands attracting media attention and then controversy. A 60 Minutes piece claims that Marla’s father (Mark Olmstead) actually coached the work out of her or actually produced the paintings himself. This is where the narrative arc becomes “a story about a story” as Elizabeth Cohen (the columnist who first broke the original story of Marla as child prodigy) says. Parents Mark and Laura Olmstead are outraged at the accusation that they are exploiting their child and attempt to prove that Marla is the sole author of her work by filming her with a hidden camera. The plot thickens even more as filmmaker Bar-Lev has growing doubts and voices them, at first alone to his camera in the car driving from the Olmstead home then directly to the parents in an extremely uncomfortable but still compelling scene in their living room.

The cleverly named MY KID COULD PAINT THAT is one of the best of the current crop of documentaries and one that leaves you guessing about what really went down much like CAPTURING THE FRIEDMANS or the more recent THE KING OF KONG. Having been introduced to these folk through these visual essays, whether or not they are balanced portraits, we can follow up through the further internet coverage and make our own conclusions. In Marla’s unique case we are shown many of her paintings and much footage of her at work. Her father Mark does seem to have a controlling influence and her work when filmed on her own appears to be different by style and method to the previous examples. Mark Olmstead also seems overly defensive and makes some ‘digging a hole’ type comments like: “I don’t want this documentary to be about 60 Minutes although everybody wants to talk about 60 Minutes but I’m not! Because I don’t talk about it ever until you guys are around!” Still, as Bar-Lev sensitively stresses through-out the film Marla and her family seem like nice people who got caught up in the craziness of modern art marketing and manipulation. It’s hard not to have sympathy for their situation but if the attacks on the arts authorship have truth to them it’s pretty damning nonetheless. Mother Linda at a frustrated moment says “documentary gold” right before tearfully walking off camera – she says it extremely sarcastically but it may be the most truthful remark made in this movie. When Marla comes of age it will be interesting to hear what she says about her parents and painting dominated childhood – a prospect that I’m sure Bar-Lev is looking forward to.

CONSPIRACY (Dir. Adam Marcus, 2008) I’ve been working on a book about conspiracy movies for some time so I feel obligated to see every such related movie so it’s obvious why this made my NetFlix queue. A quasi-remake of BAD DAY AT BLACK ROCK this awful unimaginatively titled film features a chunky Val Kilmer acting as wooden as possible returning from Iraq to seek out a fellow soldier friend from the war. He travels to a town in the South West which is being re-built as a corporate-run old timey tourist trap by an evil millionaire played by the slimily charming Gary Cole. Kilmer, suffering from constant over dramatic Iraq flashbacks, finds that his friend is missing and everybody is mum on the subject and of course that Cole wants him out of town. One cowboy hatted cliché even says: “ Throw in local hottie Jennifer Esposito, a Keystone cluster of corrupt cops, the most predictable shoot-outs this side of YOUNG GUNS II and the result is craptacular.

Cole, an under-rated actor (TALLADEGA NIGHTS, OFFICE SPACE, THE BRADY BUNCH MOVIE), is the only one who seems to be having fun with his hackneyed character. His smirking scene stealing makes me think that they should have handled this material satirically. Kilmer can do comedy too, as his performances in TOP SECRET, THE REAL McCOY and even in his overblown impression of Jim Morrison in THE DOORS (well, I laughed) attest so really I wish they had gone that route. Instead all we have is this predictable retread through the leftover plot devices of the before mentioned BAD DAY… mixed with the lowbrow aesthetics of the WALKING TALL series and severely sucky remake. As a lover of both good and bad conspiracy themed movies I couldn’t even make counting the clichés a fun game with this being just downright dreadful and well deserving of its Direct-To-DVD status.

I WANT SOMEONE TO EAT CHEESE WITH (Dir. Jeff Garlin, 2006)

Garlin’s debut as triple threat leading man, writer, and director is somewhat slight but like Garlin himself – it’s a lovable schlub of a movie. Best known as Larry David’s manager Jeff Green on Curb Your Enthusiasm Garlin has a long list of credits in comedy and casts lots of longtime buddies from his Second City days and sitcom background in this film. Garlin plays a guy not unlike himself – had he never left Chicago and lived with his mother (Mina Kolb – an original Second City Player). He hears about a remake of the classic Ernest Borgnine movie MARTY, a film he’s convinced he’s perfect for, and pines for an audition. He meets a quirky ice-cream parlour clerk played by comedienne Sarah Silverman and he pines for her too. Then there’s Bonnie Hunt as a “chubby chaser” school teacher (as Amy Sedaris labels her in a nice cameo) who actually may be a more sensible choice for Garlin. That’s about it for what we’ve got here plotwise but Garlin makes it a breezy affable affair at an economical 80 minutes with a nice helping of heart.

I’m glad that I watched MARTY (Dir. Sydney Lumet, 1956) for the first time not long ago. I think it’s the definitive good, not great, movie to win the Best Picture Academy Award. Garlin’s I WANT SOMEONE TO EAT CHEESE WITH references MARTY so often that it posits itself as a companion piece. It indeed would make a good double feature. If you want to make it a triple feature throw in John Candy in ONLY THE LONELY (1991) – another film about a frustrated fat man that owes something to Ernest Borgnine’s turn. I, like many, can relate to Garlin’s struggles with his weight, love-life, and crumbling career. The tone and timing with so many recognizable comedy folk including Dan Castelletta (Homer Simpson!), Tim Kazurinsky (SNL in the 80’s), and Richard Kind (Mad About You, Spin City), all hitting their marks is right on the money – and I mean the low budget money. Jeff Garlin says on the commentary that he feels he made a good, not great movie. He’s right – like the movie he’s giving props to (MARTY of course) it is good and while it would never get an Oscar I’m sure it’ll gain a lot of fans. Now I’m gonna go check out if I have any cheese…

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Appreciating Jack Warden (1920-2006)


“I happen to love this country. You know, we’re not a bunch of zanies trying to bring it down!”
– Harry Rosenfeld (Jack Warner – ALL THE PRESIDENTS MEN, 1976)

“Gruff but lovable” may be a cliched description befitting many a character actor but it seems today like it was coined solely for Jack Warden. Warden, who died in a New York hospital a few days ago of heart and kidney failure at 85, leaves behind 50 years of TV and movie work including Oscar nominated turns in 2 of Warren Beatty’s seminal 70’s films – SHAMPOO and HEAVEN CAN WAIT, a gracefully befuddled President in BEING THERE, and acted as newspaper editor over not only reporters Woodward and Bernstein (Robert Redford and Dustin Hoffman in ALL THE PRESIDENT’S MEN) but also performed the same task over reporters Kermit, Fozzie and Gonzo (THE GREAT MUPPET CAPER).

A former boxer, Warden epitomized the best friend/mentor role in many films. If a movie needed a rough on the outside – soft on the inside coach, agent, former army man, or any weathered wizened figure of authority he was the go-to guy. A few TV shows tried to bottle his charisma – he took Walter Matthau’s role on the short lived BAD NEWS BEARS TV show and had a 4 year run as a wacky detective on CRAZY LIKE A FOX but it is his film work that will be his true legacy. That is if we respectfully forget the dreck –like his appearances in all 3 PROBLEM CHILD movies for instance.

In memory of one of the greatest character actors in film history here’s 5 Essential JACK WARDEN film roles :

1. Mickey Morrissey (THE VERDICT Dir. Sydney Lumet 1982) The ultimate best friend/collegue part played to perfection. His raised voice advice to his tragically flawed lawyer friend Frank (Paul Newman) – “He’s a good man? Heh, he’s the Prince of fucking Darkness! He’ll have people testifying they saw her waterskiing up in Marblehead last summer. Frank, don’t fuck with this case!”

2. Roy L. Fuchs/Luke Fuchs (USED CARS, Dir. Robert Zemeckis 1980) Sure this is a rude crude barely memorable Kurt Russell vehicle (didn’t mean to make that pun) but Warden plays two roles – brothers. One good/one bad – the evil twin premise in early glory.

3. Judge Francis Rayford (…AND JUSTICE FOR ALL Dir. Norman Jewison, 1979) His crazy helicopter-piloting Judge character was an effortless yet edgy piece of work. Crusty insights abound as evidenced in this exchange with yet another disallusioned lawyer : Judge Rayford – “I found out what the meaning of life is.” Arthur Kirkland (Al Pacino) – “What’s that?” Judge Rayford – “It sucks.”

4. Julian Marx (BULLETS OVER BROADWAY Dir. Woody Allen, 1994) Warden did great work in 3 Woody Allen movies (the others being SEPTEMBER & MIGHTY APHRODITE) but his timing and presence as theater producer Julian Marx makes this list for ace delivery of lines like : “That dame doesn’t have a nerve in her body. I don’t think her spinal cord touches her brain.”

5. Harry Rosenfeld (ALL THE PRESIDENTS MEN Dir. Alan J. Pakula 1976) Famous Washington Post editor Rosenfeld was a great fit for Warden’s mentoring mania – admonishing Woodward (Robert Redford) – “Sit down. You know I’m glad you asked me that question. The reason I’m glad you asked me is because if you had asked Simons or Bradlee they woulda said, “You know we’re gonna have to fire this schmuck at once because he’s so dumb”. His brisk appointing was classic Warden as well – “Woodward. Bernstein. You’re both on the story. Now don’t fuck it up!”

R.I.P. JACK WARDEN 9/18/20 – 07/19/06

More later…