My Week With Marilyn


Beauty personified.

Beauty personified.

(2011) True Life Drama (Weinstein) Michelle Williams, Eddie Redmayne, Kenneth Branagh, Judi Dench, Julia Ormond, Dougray Scott, Zoe Wanamaker, Emma Watson, Toby Jones, Phillip Jackson, Geraldine Somerville, Derek Jacobi, Dominic Cooper, Simon Russell Beale, Pip Torrens, Michael Kitchen, Miranda Raison, Karl Moffatt, Robert Portal. Directed by Simon Curtis

In 1957, American icon Marilyn Monroe flew to London to begin work on a movie directed by the legendary actor Sir Laurence Olivier. With husband and playwright Arthur Miller in tow and an entourage that included acting coach Paula Strasberg, she made a sensation in England but her tardiness on-set, difficulty remembering her lines and feuds with Olivier and cameraman Jack Cardiff created a chaotic environment that has become legendary in Hollywood.

Colin Clark (Redmayne) remembers it differently however. Hired out of Eton College by Olivier (Branagh) at the insistence of Vivien Leigh (Ormond), then Olivier’s wife, he was Olivier’s on-set Boy Friday, impressing the great actor by not only procuring a house for the Americans to stay in during shooting but a second back-up house when the British press discovered the location of the first.

His view of Marilyn (Williams) was much kinder. He saw a woman tormented by the demands of fame, insecure about her abilities as an actress and humiliated by Miller’s (Scott) new play which seems to take some very personal jabs at her. With only Clark and actress Dame Sylvia Thorndike (Dench) in her corner, she finds going to work on the set to be nearly intolerable.

Her only solace comes from Colin, who squires her about England and with whom she develops a sort-of romantic relationship with, much to the chagrin of Lucy (Watson), a costume assistant whom he is dating. He is warned that she will break his heart but he is heedless; what man of that era wouldn’t want to be involved with Marilyn Monroe? However, those who surround her and who are vested in protecting her image may not necessarily be sanguine about his relationship with her.

This is what I call a quasi-true story. It is true that Monroe worked in London on The Princess and the Showgirl and had the difficulties spoken of earlier. However, this film is based on the diaries of Clark who did also work on the film but the depth of the relationship with Monroe that he claimed has never been corroborated. That aspect of the drama must therefore be taken with a grain of salt.

However, there is nothing “quasi” about the performance of Michelle Williams as Monroe. Justifiably lauded with a Golden Globe win and an Oscar nomination, she captures the late icon’s sexiness, public vivaciousness, vulnerability, insecurities and innate sweetness that made a generation obsessed with her. It is easy to see in fact why we are still obsessed with her today. Williams has developed into one of the most compelling actresses in Hollywood and to my mind is the most likely bet to succeed Meryl Streep as the best actress in Hollywood. This performance is a good reason why I think so.

The good performances don’t end there. Branagh, a great actor in his own right, delivers one of his finest performances in a decade. Dench is always solid if not terrific; here she is the latter. Redmayne delivers a warmth in his character which while appealing isn’t enough to be the center of the film; it makes one wish for more concentration on Marilyn which sort of defeats the purpose – it’s not My Week with Colin after all.

Like many British films, this is exceedingly well-acted and well-written. While it doesn’t have the oomph or the fireworks to really attract an American audience, it is still one of those movies that gives a whole lot of enjoyment more than it does insight.

WHY RENT THIS: Marvelous performance by Williams. Supporting cast superb.

WHY RENT SOMETHING ELSE: Clark, who is the center of the film, is much less interesting than Monroe.

FAMILY VALUES: There is a surfeit of foul language, some sexual situations and some suggested nudity..

TRIVIAL PURSUIT: The re-enactments of The Princess and the Showgirl were filmed on the very same soundstage where the original was filmed.

NOTABLE HOME VIDEO EXTRAS: None listed. Sadly, Weinstein missed an opportunity to explore that period of Monroe’s life with a featurette – surely there was plenty of archival footage of Monroe in London during that period.

BOX OFFICE PERFORMANCE: $35.1M on a $10 production budget.

COMPARISON SHOPPING: Being Sellers

FINAL RATING: 7/10

NEXT: Elysium

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42


Ebony and Ivory...

Ebony and Ivory…

(2013) Sports Biography (Warner Brothers) Chadwick Boseman, Nicole Beharie, Harrison Ford, Christopher Meloni, Andre Holland, Lucas Black, Hamish Linklater, Ryan Merriman, T.R. Knight, Alan Tudyk,  John C. McGinley, Toby Huss, Max Gail, Brad Beyer, James Pickens Jr., Gino Anthony Pesi, Brett Cullen, Cherise Boothe. Directed by Brian Helgeland 

I think that I’m not alone in admiring Jackie Robinson or considering him a personal hero of mine. Nearly every American is aware that he was the first African-American to play in major league baseball – in fact, many erroneously believe he was the first African-American to play in professional sports – Fritz Pollard and Bobby Marshall both played in the NFL in 1920 and Robinson made his debut in 1947. But Robinson’s achievement bears closer examination; at the time baseball was America’s pastime. The reaction to a black man in the game most closely identified with the American spirit was not unlike the same reaction one might get if they spit on the tomb of the unknown soldier.

Branch Rickey (Ford), president of the Brooklyn Dodgers, had a very good baseball club, having challenged for the pennant for years. Rickey, a devout Methodist, had made the decision to bring a black man into baseball, a decision that horrified his second in command Harold Parrott (Knight) who envisioned the white fans of Brooklyn deserting the team in droves.

However Rickey was not to be denied and so he went on an exhaustive search to find the right man for the job. He considered a number of stars from the Negro Leagues (some of whom, like Roy Campanella, would end up on the team eventually) but eventually settled on Jack Roosevelt Robinson of the Kansas City Monarchs. Impressed with his character, Rickey summoned the player to Brooklyn.

Robinson, recently married to college sweetheart Rachel (Beharie), is a bit mystified. He has no idea what Rickey has in mind and it is inferred that the idea that he’d be the one to break the color barrier is the furthest thing from his mind. When Rickey tells him he’s looking for someone to turn the other cheek, Robinson is insulted; are they looking for someone without the guts to fight back? “No,” Rickey thunders, “I’m looking for someone with the guts not to fight back.”

Robinson has more than enough guts and he reports to spring training…in Florida. Naturally the natives don’t take too kindly to an uppity you-know-what playing a white man’s game – in Sanford, the sheriff threatens to shut down the game if Robinson plays. His manager, Clay Hopper (Cullen) is read the riot act by Rickey. Eventually, Robinson makes the minor league Montreal Royals, one step away from the big leagues. He spends the season there.

In 1947, Robinson attends training camp – this time in Panama – with the Dodgers and the team is fully aware that Robinson, who’d torn up the International League with Montreal the previous season, is going to be on the opening day roster and on April 15, 1947 Robinson makes history by taking the field at Ebbets Field in Brooklyn.

It’s an uphill struggle however. His own teammates circulate a petition, asking Rickey to reconsider (manager Leo Durocher (Meloni) essentially tells them that if they don’t like it, they can expect to be traded). Things aren’t helped much when Durocher is suspended for the season and Burt Shotton (Gail), of whom a New York Sportswriter consistently referred to as Kindly Old Burt Shotton (it’s in Roger Kahn’s excellent The Boys of Summer if you want further insight to this story), is hired in his place.

On the field, Robinson gets it from all sides – the fans, the players, even the managers, particularly Ben Chapman (Tudyk) of the Philadelphia Phillies whose graphic racial attacks are as reprehensible and as vicious as anything you’re ever likely to hear. Hotels refuse to put the Dodgers up because of Robinson’s presence and yet the man perseveres, refusing to give in, turning the other cheek until both cheeks are bruised.

The question to ask here is whether or not the movie tells Robinson’s story properly and I’m of two minds of that here. I think it does a really good job in establishing his relationships with Rickey and Rachel, as well with sportswriter Wendell Smith (Holland) who is hired more or less to be Robinson’s assistant – picking him up and driving him around, arranging for lodging with black politicians when the white hotels won’t admit him, essentially serving as friend and confidante. He also gives Robinson perspective from time to time which proves valuable.

A Jackie Robinson biography had been in the works years ago, with Spike Lee and Denzel Washington attached. Sadly, it never came to pass and sadder still, part of the reason why was studio reluctance to do a movie about Robinson. However, it is a hopeful sign that Warner Brothers agreed not only to do the film, but allow an unknown to be cast in the lead.

Boseman has a relaxed, easy presence that is fiery in places, tender in others. He has the potential to be a star, not only because he captures some of the personality of Robinson but clearly fleshes out the legend some. Unfortunately, the writers really didn’t give him a lot to work with in terms of defining who Robinson was beyond the diamond. That might not be entirely their fault – Robinson was an intensely private man who tended to keep most of his thoughts and feelings to himself. However, Rachel is still alive as are two of his three children and perhaps some contact with them might have fleshed out Robinson’s profile a bit further, although it’s possible they would have preferred to keep what the ballplayer wanted kept private during his lifetime the same way afterwards.

Beharie is also lustrous here and shows signs of being an excellent leading lady. I hope this role gets her some further roles in big films – she has the beauty and the charisma to carry them. I really liked her as Rachel, although again we fail to see the extent of the support she gave Jackie which was considerable by all accounts.

Ford gives one of the most memorable performances of his career, playing Rickey note-perfect as a Bible-thumping curmudgeon on the outside with the kind of heart of gold on the inside that the real Rickey rarely revealed to the public. There’s a really nice scene in a locker room after Jackie is spiked and is being stitched up when he asks Rickey why he did what he did and finally Rickey comes clean with him. It’s the kind of scene that shows up on Oscar telecasts.

I liked this movie a lot, but could have liked it more with a little less baseball, a little more character and maybe a little more time overall with Jackie off the field. Even so, this is an impressive film which I can pretty much recommend without hesitation. As cultural icons go, Robinson has left a towering legacy. That legacy is deserving of a movie that reflects that and while I’m not sure 42 gives it what it deserves, it at least makes a fine attempt in the meantime.

REASONS TO GO: Gives you a sense of what he endured. Ford does some of his best work ever.

REASONS TO STAY: Really doesn’t give you a sense of who Jackie Robinson was other than what you can deduce from the history books.

FAMILY VALUES:¬† There’s some pretty bad language including liberal use of the “N” word (which you have to have if you’re doing a bio on Robinson since he heard it more than his share) and some thematic elements that might be disturbing to young kids.

TRIVIAL PURSUIT: This is the first time in his career Harrison Ford has portrayed a real person.

CRITICAL MASS: As of 4/20/13: Rotten Tomatoes: 76% positive reviews. Metacritic: 62/100; positive reviews overall for this one.

COMPARISON SHOPPING: A League of Their Own

FINAL RATING: 8/10

NEXT: The ABCs of Death