A career retrospective on Alec Guinness runs at the Museum of Fine Arts Boston this week, starting with the Ealing Comedy The Lavender Hill Mob. There are a lot of actors and actresses today who get credit for switching between drama and comedy, and it seems there are more and more dark-and-gritty roles being taken by comedians these days (see: Jonah Hill, Chris Pratt, Jesse Eisenberg, Adam Sandler). It’s worked the other way, too, which is why Tom Cruise shows up in Tropic Thunder and ends up being the best part.
Guinness was something else. This isn’t a dramatic actor trying comedy any more than his role in Bridge on the River Kwai is a comedic actor attempting drama — it’s just Alec Guinness, for lack of a more detailed explanation, completely at home in both arenas. Granted The Lavender Hill Mob isn’t a laughfest of super-zany proportions (Guinness nailed those too, though, with Kind Hearts and Coronets and The Ladykillers), but it’s a far cry from Kwai.
Continue reading The Lavender Hill Mob (1951)
This is certainly one of those films that you either absolutely love or downright hate, and I can understand why. Martin Scorsese’s latest work, The Wolf of Wall Street, really isn’t that much different from many of his other pictures except for the intensity of the vulgarity -the literal sex, drugs and rock n’ roll – which turns certain people off from the film. The use of 569 F-words, numerous sex scenes including a gay orgy, the consumption of copious amounts of Vitamin B (posing as cocaine) and Quaalude’s, as well as speeding cars, helicopters and yachts, all add to the excessive feeling and tone that the movie captures so well, love it or hate it. Whether or not you enjoyed this film, you cannot deny how energized it is and that watching it was probably the quickest 180 minutes of your life.
It is easy for someone watching The Wolf of Wall Street to miss many of the film’s truly great aspects due to this vulgarity. The endless bare breasts and drunken and/or high (usually and) benders that the majority of the characters go on may serve as a kind of invisibility cloak for the less well-trained moviegoer. First off, the wittiness, intelligence, and authenticity of the dialogue is likely the most impressive thing about The Wolf of Wall Street. The script, penned by the Sopranos genius Terry Winter, is undeniably phenomenal; see “the McConaughey lunch scene,” “the Jean Dujardin negotiating scene,” “the epic f@#king DiCaprio speech scenes.” At the same time, however, Scorsese encourages his muses to improvise, delve deeply into their characters and bring that necessary authenticity to their performances and the film. It is this combination of impeccable writing and spontaneous inspiration that makes the dialogue in this film so good.
Continue reading The Wolf of Wall Street (2013)