Being the Ricardos

We all love Lucy.

(2021) Biographical Drama (Amazon) Nicole Kidman, Javier Bardem, J.K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, Linda Lavin, Ronny Cox, John Rubenstein, Clark Gregg, Nelson Franklin, Jeff Holman, Jonah Platt, Christopher Denham, Brian Howe, Ron Perkins, Baize Buzan, Matt Cook, Josh Bednarsky, Dana Lyn Baron, Dan Sachoff, Max Silvestri, Renee Pezzotta. Directed by Aaron Sorkin

 

They don’t get much more iconic than Lucille Ball and Desi Arnaz, the real-life husband and wife team that headed up I Love Lucy, perhaps the greatest and certainly the most popular sitcom of all time. At its height, the show could claim 60 million viewers each and every week – when the country’s total population was 160 million, meaning than one out of every two and a half Americans were watching it. Water usage went down when I Love Lucy was on, because people wouldn’t use the bathroom while the show was airing. The show was by every standard a phenomenon.

This new film by Aaron Sorkin charts one week during the show’s second season. The episode Fred and Ethel Fight is the one that was getting made that week and things start with the Monday table read, but the show is in an uproar and for good reason. Over the weekend, a pair of events have happened; syndicated gossip columnist Walter Winchell has accused Ball (Kidman) of being a card-carrying member of the Communist party, a serious career-killiing no-no in the era of Tailgunner Joe McCarthy. A magazine article also shows Arnaz (Bardem), the Cuban émigré, out cavorting with someone who was definitely not Lucy.

With Lucy’s reputation at stake, and her marriage in trouble, it is the show that seems to be what keeps her going. A notorious perfectionist, Lucy endlessly tinkers with the script, much to the annoyance of director Donald Glass (Denham) and the amusement of co-stars William Frawley (Simmons) who played Fred Mertz, and Vivian Vance (Arianda), who played his wife Ethel. Lucy agonizes endlessly over little physical bits of business, from her arranging flowers for the dinner table, to Desi walking up behind her and covering her eyes with a playful “Guess who?”

The film is meant to be a backstage glimpse of a power couple that have never really gotten their due as innovators, savvy business people and forward-thinking producers (Ball and Arnaz were early champions of Star Trek and Mission: Impossible, both which ironically continue to be cash cow franchises for Paramount Studios, which owns the assets of Desliu (the production company that Desi and Lucy founded) today).

The movie follows a time-jumping path that can be confusing at times; there are semi-documentary interviews with the older versions of show runner Jess Oppenheimer (the younger version played by Hale), played by Rubenstein, producer Bob Carroll (Lacy) played by Cox and writer Madelyn Pugh (Shawkat) played by Lavin as an older woman.

We also see flashbacks to earlier points in the careers of both Arnaz and Ball, including their first meeting and eventual romance. The flashbacks do give a little context, but they tend to slow the film down somewhat and are at the end of the day, somewhat unnecessary. Still, Sorkin imbues the film with snappy dialogue (his trademark) and if he isn’t interested in giving us a real appreciation of the human beings that were Lucy and Desi, he does give us a real appreciation of their gifts as performers and behind-the-screen producers.

During this same week, Ball discovered she was pregnant which threw all sorts of consternation into the show; at the time, it was forbidden to even mention the word “pregnant” on the air – viewers of the show may recall the couple’s onscreen bedroom contained separate beds – and Lucy’s stubborn insistence that the pregnancy be written into the show, which despite overwhelming resistance from their sponsor (tobacco company Philip Morris) and the network, was eventually done, leading to some of the most memorable episodes in television history.

Kidman doesn’t particularly resemble Ball facially, but she captures her mannerisms and speech cadence nicely; Bardem is nothing like Arnaz but like Kidman does a good job of capturing the essence of the character. Simmons is memorable as Frawley, and Shawkat and Lacy have a playful relationship, while Shawkat and Kidman have a terrific scene as they discuss the difficulties in being a woman in the entertainment industry; they have improved some since then but not by much.

Kidman has already won the Golden Globe for her performance here and is virtually a shoo-in to be nominated for the Oscar when nominations for the 94^th annual Academy Awards are announced on February 8^th, 2022. The film is currently playing on Amazon Prime (link below) and may still be in some theaters near you, although to be honest this is a movie in my opinion best seen at home on TV, just like the sitcom was. You can also enjoy the episode that is depicted in the film is available on Hulu and Amazon (for Paramount Plus subscribers) and can be watched on the links therein.

REASONS TO SEE: Kidman captures Ball’s speech and mannerisms nicely. Another terrific screenplay by Sorkin (surprise!).
REASONS TO AVOID: Drags some in the middle.
FAMILY VALUES: There is profanity, sexual content, adult themes, period smoking and drinking.
TRIVIAL PURSUIT: Linda Lavin plays the older Madelyn Pugh, who executive produced the TV sitcom Alice that starred Lavin – and in which Desi Arnaz appeared in.
BEYOND THE THEATERS: Amazon
CRITICAL MASS: As of 1/19/22: Rotten Tomatoes: 68% positive reviews; Metacritic: 60/100.
COMPARISON SHOPPING: Stan and Ollie
FINAL RATING: 7.5/10
NEXT: Diane

Miracle on 34th Street (1947)

What could be more Christmas-y than a hug by a little girl for Santa Claus?

 

(1947) Family (20th Century Fox) Maureen O’Hara, John Payne, Edmund Gwenn, Gene Lockhart, Natalie Wood, Porter Hall, William Frawley, Jerome Cowan, Phillip Tonge, Jack Albertson, Harry Antrim, Thelma Ritter, Mae Marsh, William Forrest. Directed by George Seaton

 

Here in the United States, it is a sign of growing up when a child sets aside their belief in Santa Claus. Perhaps in several senses it is more of a sign that they are setting aside their imagination as well.

Kris Kringle (Gwenn) is appalled to see the man who is scheduled to play Santa in the Macy’s Thanksgiving Day parade is drunk as a skunk. He reports his outrage to Doris Walker (O’Hara), the event director. She persuades him to accept the role himself and he does such a fine job that he is hired to be the Santa in the chain’s flagship store on 34th street in Manhattan.

Although he is told to direct shoppers to Macy’s merchandise, he tells one (Ritter) that the fire engine her son wants that Macy’s doesn’t carry can be found at Gimbels, Macy’s archrivals. She is so impressed that she tells toy department manager Julian Shellhammer (Tonge) that she will be a Macy’s customer for life.

Doris, a divorcee, leaves her daughter with her neighbor Fred Gailey (Payne), a lawyer. He takes Susan (Wood), six years old and having been brought up in a practical manner by her mother to believe that there is no  Santa Claus, to see Kris Kringle at the store. When Doris discovers this, she urges Kris to tell Susan that he’s not really Santa. Instead, he tells her that he’s the genuine article.

Doris is concerned that he is delusional and might harm someone so she decides to fire Kringle but store owner R.H. Macy (Antrim) is delighted by the positive publicity and goodwill that he has generated for Macy’s and promises both Shellhammer and Doris generous bonuses if he stays. To alleviate Doris’ concerns, he has Kringle undergo an evaluation with company psychologist Granville Sawyer (Hall) which Kringle passes but not without antagonizing Sawyer.

Kris discovers that Sawyer has convinced store employee Alfred that he is mentally ill just because Alfred is kind-hearted and generous, and raps Sawyer on the head with the handle of an umbrella. Sawyer exaggerates his injury and Kringle is confined in the Bellevue Mental Hospital. Tricked into co-operating and believing that Doris is part of the deception, Kringle deliberately fails his mental examination and is recommended for permanent confinement. Fred however urges Kris not to give up and takes on his case as his lawyer, arranging a formal competency hearing in the court of Judge Henry X. Harper (Lockhart) of the New York Supreme Court.

Ordered by Macy to get the matter dropped, Sawyer pleads with Fred to drop the case quietly and not seek publicity. Instead, Fred thanks the horrified Sawyer for the idea and bumps up the hearing into a full-blown trial placing Judge Harper in an awkward position – having to try the existence of Santa Claus.

Along with It’s a Wonderful Life this might be the most beloved Christmas film in history. Gwenn would win an Oscar for Best Supporting Actor, one of two that the movie won (the other was for Best Original Screenplay). That it was released in the summertime is perhaps one of the most boneheaded moves in studio history – the publicity of the film wound up hiding it’s Christmas setting for fear that audiences wouldn’t see a Christmas film in the heat of summer, a fear that proved to be sadly well-founded.

Still, it remains the standard of Christmas movies, both a sly commentary on the commercialization of the holiday (an issue that has sadly only gotten worse in the 70 years since the movie was made) and also on the faith and imagination of children that we tend to lose as adults.

Wood, in one of her first feature film appearances is self-assured and definitely doesn’t have that forced quality that many of the child actors of the time had. You never get a sense she is reading lines so much as inhabiting the role. O’Hara, who initially didn’t want to do the film until she read the script (she had moved back to Ireland) gives one of the defining performances of her career.

The movie definitely is a product of its time, although as such it has more charm than you can imagine. The opening scenes of the Macy’s Thanksgiving Parade were actually filmed at the 1946 Parade (and yes, Gwenn did play Santa in that parade), which gives you an idea of what it was like back then. That kind of realism was unusual for films of the era.

While It’s a Wonderful Life had a much more heartland frame of mind, Miracle on 34th Street has the East Coast sophistication of its era to distinguish it. Both movies are heartwarming and both perfectly synthesize the spirit of the season and both have the uplifting quality that was present in Frank Capra’s films which It’s a Wonderful Life actually was – Miracle on 34th Street was not but very well could have been.  Those who love Christmas movies in all likelihood do so largely because of this movie. It’s a classic that may be dated at times but never gets old.

WHY RENT THIS: A Christmas classic, a perennial that bears watching again and again. Gwenn’s performance is one of the best Santa depictions ever.

WHY RENT SOMETHING ELSE: Exceedingly dated in places.

FAMILY VALUES:  Perfect viewing for the entire family.

TRIVIAL PURSUIT: The house depicted at the end of the film still exists, and is located at 24 Derby Road, Port Washington, New York. Other than the addition of window near the roofline, it looks nearly exactly the same as it did in 1947. The Macy’s Christmas display shown in the film is on display every Christmas at the Marshall and Ilsley Bank headquarters in Milwaukee, Wisconsin.

NOTABLE DVD EXTRAS: There is an AMC television special about the movie, as well as newsreel footage of Gwenn accepting his Best Supporting Actor Oscar in 1948. In addition, the special DVD edition includes both the colorized and original black and white versions of the film, in addition to a one-hour television version from 1955. Do note that the Blu-Ray version does not include the latter two features although the box packaging claims that it has the colorized version – only the original black and white version is present here. Expect a deluxe Blu-Ray version of the film classic somewhere down the road.

BOX OFFICE PERFORMANCE: Not available.

FINAL RATING: 10/10

TOMORROW: Sherlock Holmes: A Game of Shadows