FEUD: BETTE AND JOAN

Susan Sarandon and Jessica Lange

FEUD: BETTE AND JOAN (8- part 2017 mini-series).

"I can't go into rehab -- I've got the Dean Martin roast!" -- Bette Davis. 

Movie legend Joan Crawford (Jessica Lange of American Horror Story: Asylum) goes to see another movie legend, Bette Davis (Susan Sarandon of The Other Side of Midnight), and offers her the title role in a film version of the novel "What Ever Happened to Baby Jane?" During filming with director Robert Aldrich (Alfred Molina of Prick Up Your Ears), long-simmering resentments and rivalries resurface, and while the two women resolve to have a united front against the twin demons of ageism and sexism, jealousies and insecurities only drive them farther apart. It all culminates when Davis gets an Oscar nod and Crawford doesn't ...

The real Bette Davis and Joan Crawford

Well, this incredibly entertaining and absorbing mini-series could have been a campy and horrible mess, but with intelligent writing and some excellent acting it emerges as a very memorable mini-series. (Feud was not available for viewing while Olivia de Havilland sued the production -- she lost -- but it is now back on Amazon Prime: $11.99 to own all eight Standard Definition episodes.) Let's get one thing out of the way. Feud is highly exaggerated and fictionalized, the actual "feud" between the two ladies being very over-stated to say the least. For much of their lives, Davis and Crawford were busy with careers, children and several bad marriages, and probably didn't think about each other all that much. It was the whole Oscar business -- Davis lost while Crawford accepted the coveted statuette on winner Anne Bancroft's behalf -- that undoubtedly started the "feud," and led to unpleasantness on the set of Baby Jane follow-up Hush ... Hush, Sweet Charlotte.

Now, as to the mini-series itself, once you get past the fabrications and dramatic licenses taken, it manages to go beyond its initial premise and explore the struggles of aging women played out against an industry where an old woman is simply considered a 'hag." The feminist angle is explored but never overwhelms the production, nor does it necessarily excuse the ladies' bad behavior, which could often be chalked up to extreme sensitivity on any number of issues. Of the two lead actresses, Lange comes off the best -- the real Crawford was much better-looking than Lange in her nearly grotesque make up, and had much more authority -- but otherwise Lange proves herself a fine actress and gives a commendable performance. Of the two icons, Davis was imitated much more than Crawford, so Sarandon had a dilemma: how to play a real person without coming off like a drag impersonator. Sarandon succeeds in making Davis seem real, but her performance is also a little dull -- for lack of a better word -- in comparison to Lange's. However, both women are good, although neither of them have the kind of intense power, personality or sheer charisma of the real Crawford and Davis. And when they recreate scenes from Baby Jane? neither are as good as the original stars.

Feud benefits from some superb supporting performances: Alfred Molina as Robert Aldrich; Stanley Tucci as Jack Warner; Alison Wright as Aldrich's assistant Pauline Jameson; Molly Price as Aldrich's wife, Harriet; John Rubinstein as George Cukor; and especially Jackie Hoffman as Crawford's maid and companion, "Mamacita," and a scene-stealing Judy Davis [Life with Judy Garland: Me and My Shadows] as Hedda Hopper. On the other hand, Catherine Zeta-Jones doesn't remind me of Olivia de Havilland at all (although you would think de Havilland would have been flattered that she was played by a much younger and beautiful actress.) And Kathy Bates makes a rather mediocre Joan Blondell. The sections showing them being interviewed about the feud could easily have been jettisoned.

Dominic Burgess seems to think that because his character, actor Victor Buono, was gay that he should play him more as a stereotype than he was in real life. While Buono is a colorful character, it's strange that Feud completely omits Maidie Norman, the black actress who played the murdered maid Elvira in Baby Jane? and who had a very interesting life -- was it because she was a lifelong Republican? Feud is perhaps more sympathetic to Joan than it is to Bette, and suggests that her daughter Christina's hateful memoirs were not entirely accurate, if at all.

It's interesting that the writers for this series must have done research by poring over bios of the two screen idols -- books such as Fasten Your Seat Belts: The Passionate Life of Bette Davis and Joan Crawford: The Essential Biography -- but none are given credit, and that even includes an exaggerated tome entitled Bette and Joan: The Divine Feud!

Verdict: Fascinating, amusing, dramatic, even poignant look at old Hollywood and how stars desperately cling to every inch they've gained while at times losing their humanity in the struggle. ***1/2. 

SPECIES

The alien goes after a pitiful victim

SPECIES (1995). Director: Roger Donaldson.

It appears that an intelligent alien species has been found and has been combined with human DNA, resulting in a hybrid that looks like a sweet young lady but is actually a very dangerous animal. Apparently scientists never realized that they were sent the alien DNA as part of the vanguard of an invasion force. The scientists, who have kept the "girl" -- Sil -- imprisoned in a sterile room-like cage for several years, decide to kill her, but she manages to break out. She metamorphoses into a beautiful adult female, then repeatedly tries to mate with -- but usually kills -- adult males and others who get in her way, such as one poor bar patron who has her spine pulled out in a ladies room. A team headed by Xavier Fitch (Ben Kingsley) and which includes black ops agent Preston Lennox (Michael Madsen of Kill Me Again), Dr. Parker (Marg Helgenberger of Mr. Brooks), and Dr. Arden (Alfred Molina), go out to try and find and trap Sil (Natasha Henstridge). In her mutated form Sil appears to be some kind of biomechanical creature a la Alien, which is not surprising as she was also designed by H. R. Giger. Species is fast-paced and entertaining, but it is also illogical and kind of schlocky, with few humanistic touches and acting that is okay but nothing more. One may be surprised by the  presence of Kingsley [A Sound of Thunder] and Molina [The Lodger] in this picture, but they can do little to improve it. Followed by several sequels. Roger Donaldson also directed The Bounty.

Verdict: Fun enough in a limited way, but nothing really special. **1/2.  

PRICK UP YOUR EARS

Alfred Molina and Gary Oldman

PRICK UP YOUR EARS (1987). Director: Stephen Frears.

Midway through Prick Up Your Ears, biographer John Lahr (Wallace Shawn) talks to some of the late Joe Orton's relatives, wiggles his hand, and says, "did you know he was 'that way.'" This sort of sets the tone for this condescending biopic of the playwright Orton (Gary Oldman of Criminal Law), who was murdered by his longtime companion, Kenneth Halliwell (Alfred Molina of The Hoax), before the latter committed suicide. The whole tone of the movie is off-putting, starting with the decision to make John Lahr (upon whose biography this is based and who was co-producer of the film), and his wife, unnecessary characters in the film and even having them and an agent played by Vanessa Redgrave providing non-illuminating commentary throughout. Was Lahr's ego so big that he needed to put himself into the movie? Prick Up Your Ears bounces back and forth in time and never seems cohesive, nor does it make the characters come alive the way they should, focusing more on Orton's sexual escapades than his life and work. The performances are only okay. Oldman somewhat resembles Orton, but the real Halliwell was much better-looking than Molina. Orton's plays were erotic black comedies, and it may be that the filmmakers wanted this picture to reflect that -- Orton and Halliwell had many good times in spite of their horrible ending -- but making a nominal black comedy out of their ultimately tragic lives still seems in poor taste, as if it's "who cares what these funny fags did to each other?" Whatever these two men were really like -- and this film doesn't let us know -- they deserved better than this. Worse was to come: Orton, a campy musical comedy about the two men that played in London. Stephen Frears also directed the equally poor Florence Foster Jenkins.

Verdict: The movie may have seemed progressive thirty years ago, but it doesn't really work today. **.

THE PINK PANTHER 2

THE PINK PANTHER 2 (2009). Director: Harald Swort.

"Here is the Pope's ring! His wife will be happy."

Steve Martin returns as Inspector Clouseau in this sequel to The Pink Panther (2006). A thief known as the Tornado is stealing national treasures, including the famous Pink Panther diamond [ignoring the first film, the diamond is now the national symbol of France and has no owner]. A crack team of international detectives, including Clouseau, are assembled to uncover the identity of the Tornado and stop the thefts. Aishwarya Rai Bachchan [!] is fun and sexy as the one woman in the group, Sonia, and Emily Mortimer is back as Nicole, who is carrying a torch for Clouseau. Others in the cast include the always-wonderful Alfred Molina, John Cleese [somewhat disappointing as Dreyfus], Jeremy Irons as a suspect, and even Lily Tomlin as a woman who tries to teach Clouseau political correctness but finds it a losing battle. Jean Reno underplays nicely as Clouseau's partner, Ponton, carried over from the first film along with Nicole. There are some funny scenes in this -- Clouseau interviewing the Pope at the Vatican is especially memorable -- and the film is essentially amiable with a fine Martin seemingly enjoying himself. You probably will, too, even if there have been better "Pink Panther" movies.

Verdict: Not a terrible time-passer. **1/2.

THE HOAX

THE HOAX (2006). Director: Lasse Hallstrom.

"No one flew you to Nassau, Cliff -- you're not that important."

In 1971 writer Clifford Irving (Richard Gere) comes up with an idea to secure respect and power in the publishing field by purporting to have worked with the infamous Howard Hughes on his autobiography. Excited by what they think they've got in their hands, his agent and publishers go along with him, quelling suspicions, until the questions become insurmountable. The film details how Irving, aided by collaborator Dick Suskind (Alfred Molina) and Irving's wife, Edith (Marcia Gay Harden), comes up with some immoral if gutsy maneuverings to outwit his doubters, rips off his publishers for hundreds of thousands of dollars, and basically disgraces himself -- although Irving himself probably wouldn't have put it that way. Irving tries to convince people that his real goal was to "take down a corrupt president" in a clumsy attempt to tie it all in with Watergate and come out smelling like a rose. Irving published a book about his experiences as a con artist, which was turned into this film, for which he was undoubtedly paid good money for the screen rights, sort of proving that sometimes crime does pay. By all rights, Irving should have been completely shunned by the publishing world but he managed to see a few more books in print. Gere is quite good as Irving, if probably less obnoxious than the real man, and an excellent Molina (Spider-Man 2) steals the show as his buddy-in-crime, the forgotten Suskind. Harden and other cast members, including the always-oustanding Eli Wallach, are also notable.

Verdict: Entertaining, but basically another hoax. **1/2.

 

SPIDER-MAN 2

SPIDER-MAN 2 (2004). Director: Sam Raimi.

The sequel to Spider-Man is superior to the first film, being made of equal parts action and sentiment, and with – believe it or not -- a subtext of personal responsibility vs. freedom of choice. When Peter Parker realizes that his dual role as Spider-Man is playing havoc with his life (especially his love life) he gets rid of the uniform and vows never to play hero again. [This happened more than once in the comic books, usually at a time of great angst and disappointment, if not worse, for our hero.] His powers, especially his ability to create webs to swing around on [in the comics he uses a device to create webs; it is not an organic power], cuts out on him at inopportune moments due to his mixed emotions over being Spider-Man. Spider-Man recognizes that sometimes “you have to give up your dream” to do the right thing and sets out to fully regain his spider-like abilities. The climax is a thrilling all-out battle between Spider-Man and Doctor Octopus (an excellent Alfred Molina) that features an eye-popping, harrowing conflict on a runaway elevated subway train. The film even manages to be moving at times (the music doesn't hurt), although to many viewers it may only seem on a sappy, Hallmark greeting card level. The screenplay has its dopey and outrageously contrived moments. Determined not to be a hero, Peter walks by an alley where several toughs are beating up one man, and, while troubled, keeps on walking. Surely it's possible for him to come to someone's rescue without dressing up in an ostentatious outfit! Later, he confesses to his Aunt May that he didn't bother to stop the criminal who later murdered her husband. Surely his aunt, who is unaware of his Spider-Man powers, would have told him that if he'd tried to stop the man he would only have been shot just like his uncle was. Still, this is not quite as maddeningly juvenile or idiotic as many other super-hero films. In fact, it's quite entertaining, although certainly not for everyone. The FX are generally excellent and exciting, although there are times when Spider-Man just seems to be an unreal cartoon figure hurtling through the sky. Tobey Maguire (Peter/Spider-Man), Kirsten Dunst (Mary Jane Watson), and James Franco (Norm Osborne Jr.) are all quite good, as is the rest of the supporting cast.

Verdict: Web-swingin' fun. ***1/2.