People, I cannot resist the Call of the Streep, and today offered two bits of news re: the two-time Oscar winner, one-time Hollmann Award winner.
First: the release of an official image of Madame Meryl in costume and makeup as Margaret Thatcher for her new film The Iron Lady.
Hubba hubba.
Directed by Phyllida Lloyd, pic follows Thatcher's decision to give Argentina what-for in the Falklands. Lloyd used to have a reputation for mounting admirable stage productions -- The Handmaid's Tale, Boston Marriage, the Tony-nominated Mary Stuart -- but we in America only know her for her cinematic debut, the guilty pleasure Mamma Mia!. Truth: saw that movie three times in one week. Love it, love it, LOVE IT.
Naturally, the film is already controversial. Thatcher is largely reviled by the artistes of showbiz, and so of course there is concern that liberal-leaning Lloyd will take aim at the former Prime Minister. Deserved or not, I sometimes find cinematic crucifixions to be a bore (unless you have the aesthetic of Oliver Stone), but I have faith in Meryl. There's a lady that searches for dimension, and she's already said she hopes to bring "as much zeal, fervour and attention to detail as the real Lady Thatcher possesses". Besides, I want to be able to see a political film without hearing all the reasons why my family refuses to see it. It makes everything I learn and discuss automatically irrelevant: "Oh, well you're drinking the liberal Hollywood Kool-Aid." You know what? THAT KOOL-AID TASTES DELICIOUS.
Cool, refreshing liberalism
In all fairness, I don't know much about Margaret Thatcher. I know people feel her conservatism drove a great divide between the classes, but I also know people credit her with Britain's return as a major world power and helping to end the Cold War. My grandfather owns her memoirs, my blog friends call her a Satanist. What I'm hoping for is something like The Queen, where everyone can glean something from the performance. For instance, I feel even more in love with Elizabeth II and applauded Mirren's performance; others, apparently, did not feel as positively toward the royal, but the point is, the portrayal allows for both sides to see support from the same film.
Meanwhile: Meryl has officially signed in to Great Hope Springs, in which she plays one-half of a couple going off to a retreat to repair their marriage. When first we heard of this, it was a year ago, and Mike Nichols was circling the project with Jeff Bridges attached to play the husband and Philip Seymour Hoffman as their therapist. Since then, David Frankel, who directed Streep to her Oscar-nominated turn in The Devil Wears Prada, has signed on to direct; Bridges dropped out, James Gandolfini was attached, but now this press release says there is no male lead attached. Is Hoffman still with it? Who knows?
May I make a suggestion? I know some people may want another re-team of Streep and Stanley Tucci, and I would totally go for that. However, as long as we're keeping in mind reunions of The Devil Wears Prada and Doubt, I just want to throw into the conversation another actor who has worked both Streep and Frankel. I am referring, of course, to Steve Martin, the versatile writer-actor-musician who played so winningly opposite Streep in It's Complicated and can next be seen in The Big Year, a birdwatching comedy helmed by -- guess who? -- David Frankel.
The kids will love this
Of course, I'm still disappointed that it's not a director along the lines of Nichols or Jonathan Demme, since I do think some directors are so enamored of Meryl sometimes that they fail to reign her in. But Streep's performance in The Devil Wears Prada is so right. Eh, I'll give Frankel the benefit of the doubt.
They are 2011 and 2012 releases respectively, so we're looking forward to nominations 17 and 18 for Meryl. She will be the front-runner to win until some younger, un-awarded veteran shows up at the last minute.
Years ago, I heard Aaron Sorkin was writing a screen adaptation of Stephen Sondheim's Follies, to be directed by Sam Mendes. As I said, years ago. At the time, I'd never heard of the show. One of my friends called it the one with old people, so I was intrigued: as a fan of The Golden Girls, I felt that older was better, and all too rare in entertainment. And yet, somehow...I never got around to knowing it. No CD, no libretto, nothing. I just didn't look for it.
It never left my mind, though. When I immersed myself once more in musical theatre during the summer, it went to the top of my list of things I needed to catch up on. Fortunately, my school's library had both the soundtrack and the libretto, so I was able to read along to the CD.
I loved it. The music was glorious, even if the book was bizarre. An old theatre is being torn down, and as it was once the site of the Weissman Follies, Weissman himself holds a farewell party for all the ex-showpeople. Chief among them are two couples, the Stones and the Plummers, filled with thirty years of regret and unrequited love. Throughout the night, while other stage vets reminisce with a song from the old days, the two couples dance, drink, fight, and carry on, all culminating in a recreation of a Follies show called Loveland. It's all very strange but beautiful. And since they already announced a movie version in the works, it didn't take much for me to think of one of my own...
Now, some things to know before you delve into this. I know everyone here is about ten years older than the characters in the play, but no one in the correct age range seemed right for these parts. Also, my source for songs and plot is the original libretto written by James Goldman and Stephen Sondheim. I understand that different versions have different songs or a different order, but I don't know those versions. Finally, because this is a show about the theatre, my usual awards rundowns on the actors includes Broadway honors; this is a one-time deal.
With that out of the way....
ROSCOE
Who is He: One of the old standbys of the Follies. Everybody knows him, everybody's worked with him. Even at his advanced age, he still has a beautiful voice.
Song: Beautiful Girls (2:25)
My Choice: Academy Award/Golden Globe Winner for Best Supporting Actor (Cabaret), Tony Award Winner Best Featured Actor in a Musical (Cabaret, Chicago), Drama Desk Nominee for Best Actor in a Musical (Goodtime Charley, The Grand Tour, Cabaret)
Joel Grey (Remo Williams: The Adventure Begins, The Fantasticks)
At seventy-eight, he's two years shy of the character's age. And he is an old standby. More of a theatre star than a film one, but if you're going to start things out right, it's best to get an Oscar Winner. That's what I say. The man's still got it, too.
MAX DEEMS
Who is He: Husband of Stella Deems. They had a radio show after the Follies, but after an on-air outburst from Max, they quit and opened a store in Miami.
My Choice: Tony Award/Drama Desk Winner for Best Featured Actor in a Musical (The Producers)
Gary Beach (The Producers)
I can see him playing well opposite my Stella. He's a pleasure to watch, and I see him playing a pleasant fellow who tells it like it is. The only thing wrong with this casting is the lack of songs for Max. So there.
STELLA DEEMS
Who is She: Max's wife, who leads the other ladies in an energetic mirror dance.
Song: Who's That Woman
My Choice: Tony Award/Drama Desk Winner for Best Actress in a Musical (Evita, Gypsy), Drama Desk Winner for Best Actress in a Musical (Anything Goes)
Patti LuPone (Driving Miss Daisy, State and Main)
Stella's the youngest of the show-stoppers, so it's only right that we get that great not-old-yet grande dame of the stage, Patti LuPone! Her voice is just perfect for the song, too, and she'd sell it's comic moments.
SOLANGE LA FITTE
Who is She: Fabulous French chanteuse who now has a perfume for men...called "Solange", of course.
Song: Ah, Paris! (2:40)
My Choice: Tony Award/Drama Desk Winner for Best Actress in a Musical (The Rink, Kiss of the Spider Woman)
Chita Rivera (Sweet Charity, Chicago)
Totally should've played Liliane la Fleur, especially since they didn't even give Judi a chance to be un-Dench'd. Here, Chita gets to be fun and French once more, with those rrrrolling r's and sexy septuagarianty. Brief numbers need solid performers, and Chita is Solid with a capital S.
HEIDI SCHILLER
Who is She: German singer once known for her soprano. She was so popular, even Hungarian composer Franz Lehar wrote a song for her! She has my favorite number of the non-leads.
Song: One More Kiss
My Choice: Tony Award Winner for Best Featured Actress in a Musical (The Music Man) and Drama Desk Winner for Best One Person Show (Barbara Cook: A Concert for Theatre)
Barbara Cook (Thumbelina, TV's Hansel and Gretel)
Broadway star known for her lovely soprano. She can add a real sadness to this song; her "Losing My Mind" above is effective enough, isn't it?
HATTIE WALKER
Who is She: Five-time widow. Direct and funny, she also gets a signature tune of her own.
Song: Broadway Baby
My Choice: Tony Award Nominee for Best Actress in a Musical (Sail Away, Company), Best Actress in a Play (A Delicate Balance) and Best Featured Actress in a Play (Bus Stop), Drama Desk Winner for Best Featured Actress in a Play (A Delicate Balance), Best Solo Performance and Best Book of a Musical (Elaine Stritch at Liberty)
Elaine Stritch (September, Krippendorf's Tribe)
I mean, hello? Elaine Stritch is Broadway. It'd be nuts to do Follies without her.
THE WHITMANS
Who Are They: Emily and Theodore Whitman are an elderly couple that had a duo act in the Follies. Theirs is a sweet, treacly little tune, and they're a sweet little couple.
Song: Listen to the Rain on the Roof (1:05)
My Choice: She is a Tony Award Winner for Best Featured Actress in a Play (The Good Doctor, The Heiress) and Drama Desk Nominee for Best Featured Actress in a Play (Equus)
He is a Tony Award Winner for Best Actor in a Musical (La Cage aux Folles) and Best Featured Actor in a Musical (Sunset Boulevard) and a Drama Desk Winner for Best Actor in a Musical (La Cage aux Folles)
Frances Sternhagen (Misery, The Mist) & George Hearn (The Devil's Own, Barney's Great Adventure)
It'd be fun to see these two theatre stalwarts play off each other. It'd be short and sweet, but completely worth it. You'd get a sense of how long the Follies lasted and the talent it had.
DEMETRI WEISSMAN
Who is He: Why, he's the Weissman in Weissman's Follies, a cynical skirt-chaser who gets the gang back together for one last celebration of himself.
My Choice: Tony Award Winner for Best Actor in a Musical (The Rothschilds)
Hal Linden (Deathquake, Out to Sea)
Like Weissman, Linden is still strikingly handsome and remarkably spry at 79 years old. He has the sophistication required of the role, and he can do accents pretty well, too. This is a guy he probably knows all too well, too, having done theatre most of his life.
CARLOTTA CAMPION
Who is She: Star of the silver screen! She is a failed Follies girl; her one number was cut because it got too many laughs despite being a sad song. Carlotta "is the kind of woman who not only has seen everything but has liked the look of it". Still sexy thirty years later.
Songs: Who's That Woman, I'm Still Here
My Choice: Academy Award/BAFTA Award/Golden Globe Winner for Best Supporting Actress (Ghost), Golden Globe Winner for Best Actress in a Drama (The Color Purple), Tony Award/Drama Desk Winner for Best Musical (Thoroughly Modern Millie), Drama Desk Winner for Best One Person Show (Whoopi Goldberg)
(start 6:31)
Whoopi Goldberg (The Long Walk Home, Sister Act)
Carlotta needed to be sexy, funny, a little sad, and a STAR. And for this to work in a film, I wanted someone respected by fans of both the stage and screen. I flirted with the idea of Cher, or Bernadette, or Bette, but something didn't seem right. If Cher or Bette came along, it would be the Cher/Bette show; Bernadette, meanwhile, has been long forgotten by the casual filmgoer (not that this would be a movie for them anyway). No, I needed someone who was both an ensemble player and a legend. So I looked up the list of EGOT Winners, saw Whoopi's name right above Barbra and Liza and thought, "THAT'S IT!" I would kill to hear her sing "I'm Still Here". From Ted Danson to Frank Langella, Oscar to Razzie, comedienne to talk-show host, she's been through it all. And she's still here.
BUDDY PLUMMER
Who is He: A traveling salesman. He wasn't going to come, but he follows Sally when she catches a plane back to New York. Though he adores her, he's disappointed with their lives together, knowing that he's her silver medal. Buddy is also having an unhappy affair with a gal he met on the road, Margie.
Songs: Waiting for the Girls Upstairs, The Right Girl, Buddy's Blues
My Choice: Academy Award Winner for Best Supporting Actor/BAFTA Award Nominee for Best Actor (A Fish Called Wanda), Golden Globe Nominee for Best Actor in a Musical/Comedy (Soapdish, Dave, In & Out, De-Lovely), SAG Award Nominee for Best Actor (Life as a House), Tony Award/Drama Desk Winner for Best Actor in a Musical (The Pirates of Penzance) and Best Featured Actor in a Musical (On the Twentieth Century), Drama Desk Winner for Best Actor in a Play (Henry IV)
Kevin Kline (Sophie's Choice, A Prairie Home Companion)
I do think Kline and my choice for Ben could trade parts and still do a 100% effective job. I think I'd buy Kline's "The Right Girl" more, though. He's very effective at playing guilt. Man, I can't wait for that new Lawrence Kasdan film. I love Kevin Kline.
SALLY DURANT PLUMMER
Who is She: Former Follies showgirl, she was best friends with Phyllis. She also carried on an affair with Ben in the past. Now married to Buddy, Sally still believes she could have a future with her first love. In and out of mental clinics and alcoholic rehab centers, Sally is unhappy, choosing to live in a memory instead of the present. Gets the best overall solo, "Losing My Mind".
Songs: Don't Look at Me, Waiting for the Girls Upstairs, In Buddy's Eyes, Who's That Woman, Too Many Mornings, Losing My Mind
My Choice: Academy Award/Golden Globe Winner for Best Supporting Actress (Cactus Flower), BAFTA Award Nominee for Best Actress (There's a Girl in My Soup, Cactus Flower)
Goldie Hawn (The First Wives Club, Everyone Says I Love You)
Still beautiful and girlish. If you've seen Everyone Says I Love You, then you know Hawn can sell the hell out of a sad song without overplaying it. I wish she'd been nominated that year.
BENJAMIN STONE
Who is He: A successful author who roomed with Buddy when they were younger. He dated Phyllis, but when she wouldn't put out, he spent his nights with Sally. Benjamin is a bit self-absorbed, and throughout the night he considers running off with Sally, fights with wife Phyllis, and tries to bed Carlotta. He wonders what might have been, more in love with Young Sally than with Now Sally.
Songs: Don't Look at Me, Waiting for the Girls Upstairs, The Road You Didn't Take, Too Many Mornings, Live, Laugh, Love
My Choice: Golden Globe Nominee for Best Actor in a Musical/Comedy (Pennies from Heaven, All of Me, Roxanne, Parenthood, Father of the Bride: Part II), WGA Award Winner for Best Adapted Screenplay (Roxanne)
Steve Martin (The Jerk, It's Complicated)
Martin's a great singer, first off. Second, he's a phenomenal actor, whether he's playing an asshole, a nice guy, or someone in between. The man's incredible. It's a juicy role, this, and Martin has proven that when given a challenge, he meets it head-on. Handsome and sophisticated, he seems like he could be an author who dines with members of the U.N. He'd be the man.
PHYLLIS ROGERS STONE
Who is She: Formerly a shy showgirl, now a bitter housewife. Always biting and sarcastic, her marriage to Ben is a cold one, and she regrets marrying the only man she's slept with. Attractive and high-class, Phyllis's class is the result of hard work. She's perhaps the most perceptive of the group.
Songs: Waiting for the Girls Upstairs, Who's That Woman, Could I Leave You, The Story of Lucie and Jessie
My Choice: Academy Award Nominee for Best Actress (Fatal Attraction, Dangerous Liaisons) and Best Supporting Actress (The World According to Garp, The Big Chill, The Natural), BAFTA Award Nominee for Best Actress (Dangerous Liaisons), Golden Globe Nominee for Best Actress in a Drama or Musical/Comedy (Fatal Attraction, Maxie, 101 Dalmatians), Tony Award/Drama Desk Winner for Best Actress in a Musical (Sunset Boulevard), Tony Award Winner for Best Actress in a Play (The Real Thing, Death and the Maiden)
Glenn Close (Air Force One, Mars Attacks!)
She's got that high-class look, the singing chops, the stage experience, the wit, the pathos: she's got it all. Plus she'd get to share the screen with Kevin Kline once more, and that's always a plus. She'd nail the triumphant bitterness of "Could I Leave You" and the bitter wit of "The Story of Lucie and Jessie". It's a Glenn Close role, for Heaven's sake!
As far as predictions go, I did pretty well. Only seven wrong! Sandra Bullock got Best Actress instead of Gabourey Sidibe, Avatar and The Hurt Locker were vice versa as far as Cinematography and Editing went, Geoffrey Fletcher's Precious screenplay triumphed over Up in the Air. China's Unnatural Disaster lost Best Short Documentary to Music for Prudence. And both sound categories did go to one movie...but to The Hurt Locker.
So, some highlights and lowlights.
-Steve Martin and Alec Baldwin have real chemistry. Their banter didn't always work, but when it did, it was on, baby!
-The director of Oscar-winning short doc Music for Prudence, Roger Ross Williams, was giving a heartfelt thank you speech, looking genuinely touched as he took the beauty of the moment in. He was soon interrupted by a random woman who I thought must have been the other director, who upon taking the stage talked right over him, shouldered her way in front of the mic, and talked about differences and credit where credit is due. Then pointed out that Prudence was in the audience, which was neat. By that moment, however, everything was already weird, with Williams looking downright uncomfortable.
Apparently, this woman was producer Elinor Burkett, and she and Williams have been fighting since production on the film. Williams says Burkett qualified as a producer, but walked out on the film; Burkett claims that Williams has been purposely keeping her out of the loop and tried to take her Oscar glory. I think Burkett is behaving like an uppity bitch, and she should probably grow up. This was not classy, not classy at all.
-Man, I hope more people are talking about Sandy Powell's Oscar acceptance speech. Highlight if the night, for me. From the shrugging-off of, "Um, I already have two of these" to her saying that contemporary designers are unfairly overlooked, and so her Oscar belongs to them, "but I'm still taking it home with me." There was nothing about that speech I didn't like. It's the kind of thing I always want to hear from inevitable winners.
-So, they cut the Original Song performances so as to make all categories equal, right? This is what I thought. But then they have give those performances to Original Score, with a group of breakdancers tearing it up to the nominated compositions. One of my friends described it as "a messy, backalley [sic] abortion". God, what an awful, awful sight. The dancing did not go with the music at all, and this alone convinced me that Adam Shankman should never again be put in charge of the Oscars. What was this, revenge for Hairspray getting a straight snub two years ago?
-In addition to that, we had the twenty-minute actors showcase. Following last years tribute from previous winners approach, we got five actors with a connection to the nominees. Oprah, who helped to get Precious distributed, spoke to Gabourey; Forest Whitaker, who directed Hope Floats, spoke to Sandra. And it was preceded by a montage of the actors' performances. And when it was all over, in came another presenter to read out the nominees again, and finally present the statue. I thought it was tedious, and ridiculous when you consider that they only did this for the lead categories. Shankman's purported "all categories are equal" approach wasn't just smoke; it was an outright lie.
-Geoffrey Fletcher's surprise win for adapted screenplay for Precious was incredible. Not only was it a shocker, leaving Up in the Air completely empty-handed...but his speech was fantastic. True, he may not have said much, but the emotion, the heartfelt sincerity of his being humbled, was beautiful. Then when he finally apologized for drawing a blank and thanked everyone...awesome.
-Mo'Nique is now an Oscar-Winning Actress. Though inevitable, it was still a joyous moment. I love when she thanked the Academy "for making it about the performance, instead of the politics." Truth, baby, truth. My one twinge of disappointment: although she thanked "the Precious team" as a whole, she really should have thanked Lee Daniels individually. Maybe she did on the thank-you cam.
-Kathryn Bigelow became the first female to win Best Director. When The Hurt Locker also won Best Picture, we got a truly cinematic moment. For a brief second, we saw backstage as Kathryn stopped midstride and was told to go back, her movie just won! It was such a stunningly real moment.
-When the show ended at exactly midnight, Steve Martin quipped that "The show was so long, Avatar now takes place in the past." But hasn't it run much, much later before? This seemed like the most rushed Oscars on record. Too rushed, if you ask me.
-What, no visuals for Best Cinematography? Who dropped the ball on that one?
I heard that Steve Martin and Alec Baldwin will be co-hosting the Oscars. Now, I know you and I have had our disagreements in the past, but I just want to apologize. If this kind of team-up is happening, then you must be real! You must exist! Thank you!
Yes, it is true. Somehow, without notifying the entire world (or, at the very least, me), Nancy Meyers' latest film has gotten a title. And it looks like we'll be hearing Meryl Streep get her Golden Globe Nom for... It's Complicated
It certainly sounds like it, too! Meryl plays Jane, a divorcee who finds herself torn between her ex-husband (Alec Baldwin) and a new suitor (Steve Martin). At the same time, her children are flying the coop. Also, her ex's younger wife wants to start a family of their own. Crazy!
Nancy Meyers is, of course, an Academy Award Nominee for Best Original Screenplay (Private Benjamin), and the director of the Mel Gibson comedy What Women Want. She also wrote and directed The Parent Trap remake, Something's Gotta Give (for which Diane Keaton almost won the Best Actress Oscar), and The Holiday (for which Eli Wallach almost won the Best Supporting Actor Hollmann Award). Having never seen The Parent Trap, the woman is three-for-three with me.
