a.k.a. "The Oscar Messenger"

Posts tagged ‘Scottsboro Boys’

Vanessa Redgrave & James Earl Jones Magnificent “Daisy”!

Just when you think this terrific, multitudinous Broadway season couldn’t get any more bountiful – Suddenly! There are two of the greatest actors of our time the hitting never-dreamed-of theatrical heights in “Driving Miss Daisy.” That would be Vanessa Redgrave and James Earl Jones in what is surely going to be considered one of the highpoints of their already legendary careers.

This is great acting of the highest order. The likes of which we rarely if ever see on Broadway. And how do they accomplish this amazing, but not wholly unexpected feat? Well, Vanessa Redgrave does it by utterly underplaying the sour, snippy, uppity, totally self-righteous Miss Daisy, who is a spritely 72 when the play starts in 1948.

Miss Daisy has crashed her car into her neighbors’ garage and now is no longer allowed to drive. And her doting son, Boolie (Boyd Gaines, who is just serviceable here) insists that she get a “colored” chauffeur to make sure she gets from point A to point B without catastrophe. And thereby hangs quite a tale and a play that proves itself here to be a durable American classic.

Miss Daisy  Wertham is Jewish and rich, but she’s the type who can pinch a penny until it screams. She comes from an impoverished background herself, and climbed to freedom and respectabilty through education,  becoming a school teacher  and eventually marrying her rich (now late) husband, the father of Mr.Gaines’ character.

“We had NOTHING!” Redgrave’s voice rises for one of the few times in the Alfred Uhry’s 1987 Pulitizer Prize-Winning play, “NOTHING!” But she does it all with a control and a simplicity that is startling, in that it renders this very familiar play, fresh as…well, a daisy!

Miss Redgrave only lets the gestures fly or her voice ring when she’s onstage with her son Boolie( Mr. Gaines), as his less-than-doting mother. Miss Daisy’s maternal instincts run to the nasty, the snide put-downs of her ever-helpful, ernestly do-gooding son. She’s quite insufferable as a mother.

HOWEVER,  when James Earl Jones finally enters the play (it seemed like it took forever to get them into their famous car-ride together) Redgrave hands the play totally over to him. On a veritable silver platter of well-seasoned acting chops. She gets very, very simple and true, and just let’s James Earl Jones rip the roof off the Golden Theater.

Jones, when we first see him is a shockingly-aged figure. White hair, he’s almost bent over double, with what one hopes is a character choice and not osteoporosis. He seems eager to make some extra money, desperate almost for a job. Especially driving a white lady of “means.” As if to make double-sure, he shuffles and “Yes’M”s and “No,’M”s drip from his lips, shockingly often, and in Jones’ sonorous voice, here controlled like I’ve never seen him before, they sound like honey, and fall throughout the play as naturally as Southern rain. The naturalness of their frequency locks Hoke into his subservient role, like a vise.

And when the Two Greats get together, the sparks fly. And how do they soar so? By absolutely, completely disappearing into their characters in this play that has NEVER,  ever been done on Broadway. Ever. After this magnificent revival, it will be done all the time now.

This theatrical power couple par excellence banish thoughts of the great 1989 cinematic version, which won the Oscar for Best Picture that year and Jessica Tandy was named Best Actress. Making her the oldest Best Actress recipient ever. Morgan Freeman, who also originated the role in the stage play, Off-Broadway, was nominated, but didn’t win.Though he did eventually garner a Supporting Actor Oscar for “Million Dollar Baby.”

Jones, who’s never won an Oscar, but has Two Tonys to his credit for “The Great White Hope” and “Fences,” just takes the part of Hoke and runs with it. Or drives with it, right into the theatrical firmament. And our hearts. And memories.

It’s one of his greatest performances, and hers, too. Taking his cue from her, Jones is also totally without frills and simple, simple, simple.  And as the times change (“Miss Daisy” starts in 1948 and goes on through the tumultous civil right area and into the ’70s) the power shifts from the back seat to the front seat. And when Miss Daisy’s synagogue is bombed, Jones’ Hoke is all protection and help for the distraught, disbelieving Miss Daisy.

You know he knows just how ugly Southern racism of that time can be. Whether it’s directed at Jews or at Blacks, it’s all the same thing, the playwright is saying.

When Hoke describes the lynching of a relative he witnessed as a young boy to the thunderstruck Miss Daisy, Jones is simplicity and quiet, heart-rending eloquence itself. He is also echoing a similarly, frighteningly effecting scene in the “Scottsboro Boys.” The Kander & Ebb musical, playing two blocks away, on the other side of Broadway and it chronicles the horrors and  the injustices 1920s & 30s South. And in the South of Miss Daisy’s 1940s & 50s world it is alive still. Hoke can’t eat at the restaurants Miss Daisy does. And he has to go in, always, by the back door.

Playwright Alfred Uhry, who never again reached the theatrical heights with anything else he ever wrote for the stage (though I did enjoy his “Last Night at Ballyhoo.”) surprises here, too. Because instead of being lost in a big, Broadway house, his “Driving Miss Daisy” OWNS it and fills the space,  and now in Vanessa Redgrave’s and James Earl Jones’ caring hands, we see that his characters are immortal.

Very disappointed by “Winter’s Bone” & Jennifer Lawrence.

I haven’t been having a great few days. My friend, Jill Clayburgh died suddenly and unexpectedly. And I was really disappointed by “Winter’s Bone”, and especially Jennifer Lawrence’s monotone performance and to a lesser extent “Scottsboro Boys” the musical now on Broadway.

“Winter’s Bone” has been hyped to the skies as an Oscar contender. And let me say that if everyone and his mother in a field of ten pictures is saying it’s in, it just may be in. “The Blind Side” spot. Yes, I guess anything is possible in the Oscar race. Sandra Bullock’s win really did show that quality is just not always the winner. Popular though she is. It’s a popularity contest. It’s come down to being sort of being sort of a PROM.

And Sandra Bullock was last year’s Prom Queen and she’s someone who indisputably has a box-office track record. But acting-wise? No. At least, not yet. She’s getting better and may some day give a great ACTING performance, but she hasn’t yet…

Which brings me to my totally dumb-founded reaction to everyone’s OVERreaction to Jennifer Lawrence as the lead in “Winter’s Bone” and her supposed slum-dunk Oscar nomination for Best Actress.

I dont think the Academy is going to go for it. In a crowded field, she’s not giving the kind of performance that the critics say she’s giving. I was unmoved in the extreme. I was bored.

Under-acting, if that is indeed what she was doing as opposed to not acting at all, is historically something the Academy doesn’t reward. Especially in a crowded field. It’s just WONDERFUL, FANTASTIC that actresses in strong leading roles are plentiful this year. It’s been a long, long time since this was the case. I can’t remember when, actually.

Since I was a kid, I guess.

You have to go back soooo many years to find a ear like this for actresses.  Annette Bening AND Julianne Moore in “The Kid’s Are All Right” as the lesbian moms from heaven. Natalie Portman as the ballerina from Hell in “The Black Swan”. My fave Noomi Rapace blowing the walls out in “The Girl who Kicked the Hornet’s Nest”(and her two other Lisbeth Salander films, too.) They say Nicole Kidman and Anne Hathaway are both contenders for their upcoming roles in “Rabbit Hole” and “Love and Other Drugs” respectively. I haven’t seen them yet.

But Jennifer Lawrence? In “Winter’s Bone”. You’ve got to be kidding.

I was FINALLY sent a “For Your Consideration” screener this week. I was really looking forward to watching it. Maybe it was the DVD. The “timing” of it, as it’s called, or color correction, may have been REALLY off. It’s was so dark in so many sections I couldn’t tell WHAT was happening. And the sound, too…

At one point, her most animated, Jennifer Lawrence is running through some kind of cattle housing(an industrial barn of some sort) yelling “Stop Milking?”  Or was she yelling “Stop killing”? Was it an animal slaughter house?

But geez Louise that was NOT an Academy performance. OK. You can call it subtle, but this kind of non-acting, low-key to the point of stupefaction is not rewarded. USUALLY.

But she’s been nominated for Break-Out Performance or something like that for the first up Gotham Awards, being given out in a few weeks…And she just may win…

But the only Academy precedent, I can site in Jennifer Lawrence’s defense, is that she got the Babe Factor securely on her side. She’s young. She’s blonde. She’s cute. But is that a reason to nominate her for the Oscar? Maybe it is.

Maybe I should see “Winter’s Bone” again. In a theater. But stupid doesn’t even begin to describe it’s lack of writing, direction, or acting.

It was DARK, as in underlit. And the sound was appauling…

So Jennifer Lawrence is the cute young thing…The cute young Southern Hillybilly of the moment…

But I aint’ buying what she’s selling and it’s going to be a shock to a lot of pundits when she’s left off the list of the Final Five.

Kudos to her publicists. They’ve made everyone THINK Jennifer Lawrence is a great actress. She’s not. She’s a babe. That is all.

Tag Cloud

%d bloggers like this: