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Reviews
Lady Caroline Lamb (1972)
It's the Music which Makes this Movie
It doesn't really matter when pondering the origins of artistic creative genius when you have the privilege of actually hearing it, and it doesn't come much better than listening to Richard Rodney Bennet's musical score to this film. I watched the VHS version which, unfortunately, is still the only one available, last winter, and was struck by the film's musical message and subject content. It also doesn't really matter if historical accuracy is somewhat shrouded by other matters, considered more important, such as the core, or center of the soul, which was the essence of Caroline Lamb's relationship with Byron, and which caused her life to break down into hopeless violence and chaos; "it'll end badly," according to her husband's accurate prediction. This is what Bolt wanted to portray and did so successfully, much like his portrayal of Thomas More in 'A Man For All Seasons.' Of course, the film isn't without flaws - very few are. Sarah Miles was probably more successfully cast in films such as 'Those Magnificent men in Their Flying Machines,' or 'Ryan's Daughter.' But a historical Lady Caroline is probably difficult to act. Margaret Leighton did a much better job portraying a shrewish hard-nosed Lady Melbourne. You couldn't, in those days, go beyond being "a little shady," right to her ignorant, inexpressive and unmoved response to Caroline's bizarre 'wild' death from a broken heart: "My god... wouldn't she!" All she ever cared about was her son's political status and ambition, no less than her own reputation. It's perhaps ironic that these two actresses played opposite each other in a contemporary version of 'Great Expectations' when Leighton as Miss Havisham regrets rearing a heart of stone, Estella. The death scene is almost reminiscent of dark and stormy parallel film genre situations, such as Susannah York's wandering around the Yorkshire Moors in an adaptation of Jane Eyre, and Anna Calder Marshall's performance as the ghost of a dead Catherine Earnshaw in a 70's adaptation of Wuthering Heights. Byron and Heathcliff are rocks on which their heroines dash themselves against. There are other examples of 19th Century tragic women caught in wind or rain, such as Hardy's 'Far From the Madding Crowd,' and for which Bennet also wrote the film score.
But to top it all, it's the music that shines forth, right from the striking opening, hearing the symbol percussion instrument when the film's title appears on the screen (like switching on a light) and is much better in the original widescreen format, to the solo violin elegy and closing credits. Miles galloping across the moors is incurably and slaveringly romantic like the romance of the times, enhancing the passion, wildness, eagerness, an unquenchable flame, in this music. Being rich, ravishing, unquenchable, insatiable, I listen to it again and again and again. It's dramatic and overwhelming; even haunting cold, hollow. Enough said.
That Hamilton Woman (1941)
A Perfect Match.......and a Priceless Gem
The film oozes with the passion which Vivien Leigh and Laurence Olivier obviously possessed for each other - as well as professional rivalry. I guess this passion mirrored the strong romance and feelings Nelson and Emma Hamilton had for each other. As the film is an all-out classic, it could stick to historical and romantic tradition in an unrepressed way. Indeed, it is glitteringly unrepressed from start to finish, much like the jewels Vivian Leigh wears around her neck. After giving my Chinese students a talk - more like a lecture - on London a few weeks ago, the subject fell on Trafalgar Square and it's historical reason for being there, even down to the pigeons that visit it, I came across another DVD copy of the film and bought it on impulse. DVD copies come so cheap here, it didn't really matter. I doubt whether an historical re-make of this romantic drama can ever live up to this version, even a try in the 70s with Peter Finch and Glenda Jackson in the subject roles. Not even the portrayal of Nelson's wife by Margaret Leighton could match the cold, hard, unfeeling attitude of Gladys Cooper. The way she taunts Nelson, ending, with, "I'll never put the name of Nelson through a divorce court," I found quite funny, showing that their lives weren't that much different from the rest of us. I remember in the 70s film, Jackson makes fun of Lady Nelson by calling her "tom-tit" because she was supposed to have limped like a bird's leg movement. I'm not quite sure how historically accurate that was. But the coldness, hardness, kept hitting Hamilton. You could see her vulnerability coming to a head in, "it's cold, it's freezing, I'm frightened!!" which eventually culminated in her exiled destitution. If anyone loves historical and romantic tradition, talent, and has time on their hands, can luxuriate in this film's luxury, then it is a definite, a must see, and ought to be cherished again and again, even beyond the beauty of Vivien Leigh and those gems she wears. And the music's stirring too. It compliments the opening title and credits which accompany a water color painting of Hamilton dressed in a flamboyant hat, wonderfully, while not being too 'namby-pamby.' I'd nudge it towards 10
Thoroughly Modern Millie (1967)
'Doing a Julie Andrews' in the Kingdom of Soy
A few weeks a go, I ordered a plate of Jaozi (dumplings). After picking one up with my chopsticks it accidentally slipped back into the saucer of soy source with vinegar. You dip it into this mixture to add flavor. Eating dough on its own is pretty tasteless. Once it fell it caused the dark brown liquid to splash out and stain my jeans. I immediately thought of the scene where Millie (Andrews) insists on cleaning the Paris-style gown of the spoilt and snobby Judith Tremayne, after Muzzy (Channing) wonderfully and hilariously squirts water from her diamond ring into her eyes causing the mascara to stain the gown. "About two quartz--rasberry!!" Of course Millie's deceived by Mrs Meers when she catches her milling around Miss Dorothy's door, and hurriedly thinks of an excuse to explain why she's there, so uses the soy source and makes Millie think it's a cleaning fluid. Of course, the gown comes off far worse, with a nice heart-shaped stain at the chest. The film captures Tremayne's reaction with such theatrical drama, you'd think a far-worse situation - even a tragedy - had hit her. It's all so serious and solemn. Even 'T' the Chinese butler's so sympathetic; "I will take care of dress." "No! I'm going home," comes a tear-gulped reply. Scenes such as this reverberate and characteristically echo throughout the entire movie; they're certainly difficult to emulate. There's very little else I can add which hasn't been added already to recommend this film. Channing's inimitable performance when doing 'Jazz Baby' is just incredible because it was done with such obsessive enthusiasm or a strained effervescence. Then there's the squeaking laundry trolley. Beatrice Lillie's part as Mrs Meers was certainly Oscar quality. I loved this film as a kid, saw it many times, and still never tire of it, being one up from the silver screen era. I give it 10. What else can you do?
One Hundred and One Dalmatians (1961)
Crazy Cruella, Disney just Excels
It is perhaps ironic-or hardly-that 'One Hundred and One Dalamtians' was made during the year I was born. It certainly had a profound influence on my childhood. Almost 'living' in the cinema with other films, I don't think I saw repeated showings as much as this. I once went to a matinée of it with a friend and his family. I sneaked behind under a seat while it was still dark in the cinema to see it through again. Needless to say, when leaving, the family wondered where I'd got to. Such antics can only be attributed to one character, Cruella De Ville. Disney's talents, and those who were the voices, just oozed with the villains, (and esses). Eleanor Audley's voice is fantastic as the wicked Maleficent in the 'Sleeping Beauty,' but nothing quite matches the combined animated effects with the voice of Betty Lou Gerson. I guess it was this that held a peculiar obsession and fascination, and I suppose, addiction. I love the scenes which portray Cruella's crazed outbursts and demented frustrations. Her reaction when Roger refuses to sell the puppies: 'you wait, you'll be sorry. You fools! You idiots!' And her crazed frustration when finding Jasper and Horace haven't done the dirty work; grabbing the liquor from Jasper and flinging the bottle and its contents in the fire, and blasting the door shut after clenching her hands with, 'I'll...l'll call the police. DO YOU UNDERSTAND!!!'causing the plaster to crack, are some of the most memorable. 'You know, I think she means it Jasper.' Not to mention the crazy car chase at the end. The colonel's muddling, 'Puddles' and 'Pingo,' is always quite hilarious. Apart from the English diction in these voices which isn't emulated any more, the film will always be a timeless classic and first rate for any student learning British English. I couldn't agree more with the commentator who said that Cruella's character animation 'doesn't come better than this.'Disney was getting better and better.