Tag Archives: Out of Africa

Havana (1990)

Havana (1990)Any cook will admit that having delicious ingredients doesn’t necessarily make for a delicious meal, even if you are faithful to the recipe. The most masterful chef can combine a snazzy main course with cool, exotic sauces and side dishes, pepper in some flair, and tie it all together with pristine presentation — but if the temperature isn’t just right, or if just one of the ingredients has started to turn, or if the sous-chef finally makes his move by sabotaging his tyrannical chef’s best meal, well, at least those would be reasons. Sometimes it just doesn’t taste good. Questions arise: why didn’t the dish work? Didn’t we follow the recipe to the letter? Did you freeze that thing overnight like I told you to? When does one traditionally bring their extended metaphor to a close? Now?

Havana had all the ingredients. Sydney Pollack’s previous film Out of Africa walked home with Best Picture and a cartful of other Academy Awards; Robert Redford, longtime Pollack collaborator, was back for his seventh (!) go-round under Pollack’s guidance. Right there you’d think success would be imminent. Of all the famous Director-Actor partnerships, Pollack-Redford is perhaps the most dynamic, the most unexpected, the one that results in classics that span more than one genre. The pair met as actors on the low-budget 1960 film War Hunt, as recounted by Redford in his tribute to Pollack in Time following the latter’s passing, wherein Redford uses the term “kindred spirits”. The success of the adventurous Jeremiah Johnson, the thrilling Three Days of the Condor, the intimate Electric Horseman and the epic Out of Africa would all support that claim.

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Kiss of the Spider Woman (1985)

In the wake of the 88th Academy Awards we’ve arbitrarily decided to revisit the Year in Film of three decades ago, reviewing a selection of films that were either honored at the 58th Oscars, snubbed, or overlooked altogether. Out of Africa was the major winner that year, scooping up seven trophies, but of course the question everyone always asks after the Best Picture mic drops is whether or not the winner is deserving. Spotlight, more of a traditional cinematic experience than the likes of The Revenant, was a mild surprise to don this year’s crown. If we dispense with the niceties, we might say that Spotlight — though undoubtedly a strong film about a powerful true tale, well-crafted, well-acted, well-received — simply isn’t a cinematic experience on par with Revenant. And if we did the same 30 years ago we might find a similar scenario with Kiss of the Spider Woman.

Every once in a while a movie rears its head from the past and simply begins, production credits appearing and giving way to the title, the opening credits, the first scene, and off to the races. Nowadays it’s far more common to preface all of that with casting news, screener reviews, trailers, trailers for the next trailers, interviews with the stars wherein the plot of the movie is dissected before the film is even released, etc. Rarely do we get to experience a movie as is, shorn of all the machinery. For me, Kiss of the Spider Woman was one such rarity. I knew the title and knew that William Hurt won an Oscar for his role, and that’s it. Hitting play was in the grandest sense a leap into an unknown territory of infinite possibility, even if in the quotidian sense it was just something to do on a lazy late Wednesday evening.

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Absence of Malice (1981)

The story of Paul Newman’s 1981 film Fort Apache, The Bronx is far more interesting than the film itself. When Newman suited up as a police officer in the South Bronx for a film about his ongoing fight for justice in the toughest neighborhood in the city, the context was a little too close for comfort: in the nine months preceding the filming of Fort Apache, at least twelve unarmed black and Puerto Rican individuals were killed by police officers throughout NYC (this is 1981, the most violent year of A Most Violent Year). The staunch opposition to the film saw massive protests, riots, a lawsuit and the formation of the Committee Against Fort Apache, all geared toward the halting of a film that many perceived to be defamatory and racist. Fort Apache got made, but it was one of the more dangerous film productions in the city’s history.

Newman himself got a big slice of Defamation Pie, too, courtesy of The New York Post. After reading the printed “facts” that Newman claimed were nothing of the sort, the actor accused the paper of “irresponsible journalism” and eventually referred to the Post as a “garbage can”. The paper ran a piece called “What Paul Didn’t Tell Us About Fort Apache” in the days following, and the dispute went in circles from there — people blamed the filmmakers for racism and defamation, Newman blamed the newspapers for false reporting and defamation, and film critics blamed Fort Apache, The Bronx for being kind of a shitty movie anyway. Paul Newman felt strongly about the journalistic integrity issues he encountered, and ultimately his extremely charitable history and consistent care for the underprivileged outweighed anything the Post said about him.

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The Electric Horseman (1979)

As the Annals of Film History come to resemble the Annals of Film Remakes more and more every day, one might suppose it’s only a matter of time before someone digs up The Electric Horseman and updates it with a modern twist. If we’re going by plot alone, Horseman has in fact already been remade a thousand times; there’s nothing earth-shatteringly original about the concept, or the characters, or the message, or the way the whole thing comes together. It’s very nearly your everyday run-of-the-mill romantic comedy, sharing a great many characteristics with all of those other romantic comedies, except for the fact that the romance outplays the humor at every turn. Horseman‘s a lot more enjoyable if you can manage to ignore genre classifications, or ignore the fact that you loathe country music. I’m happy to be your guide on both.

Mainly The Electric Horseman has something a lot of romantic comedies don’t: Robert Redford. Over the course of seven collaborations, Redford and Sydney Pollack essentially only made two films that weren’t structured around the romance of Redford’s character with a woman smitten by his jawline and just-visible chest hair. Both Jeremiah Johnson and Three Days of the Condor overshadow the likes of Horseman, but the other four romantic films — This Property is Condemned, The Way We Were, Out of Africa and Havana — probably do too. That’s without considering the zillion other films that Redford made in the ’70s, the busiest time in his career.

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